This essay is about getting inside the sensibility of the archaic past.[1] Can we get into the creative mind of the painter of The Sorcerer? Can we reconstruct the sensibility of prehistoric humans? Can we recover the humor of the prehistoric artist? Can we do it? After all, sense equipment is the same in men and women of all ages, and though each age inflects its sense usages uniquely, there should remain an underlying continuity among sensibilities. Shouldn't we be able to return into earlier forms of those usages? Can we tell whether we have been successful in accomplishing that return? Can just getting inside the sensibility of the past be of use to us in our own quest for humanity?[2] Or is there some other justification for a regression into the sensibility of the past? I tackle those questions here.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=dedup_wf_002::e2915adc52cd9cb02f849f92c1d4872f&type=result"></script>');
-->
</script>
gold |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=dedup_wf_002::e2915adc52cd9cb02f849f92c1d4872f&type=result"></script>');
-->
</script>
handle: 11693/14787
By the end of the twelfth-century, a new type of literature had come into being in North-western Europe, combining an older warrior ethic with the newly formed refined culture of the courts. This literature centred on a knightly ethic that was presumed to have been practiced by King Arthur and his knights sitting at the legendary Round table. In the various examples of this literature in different genres, this knightly ethic interacted with and attempted to influence the real knights of the twelfth century. Because these works embodied many fictional elements in their nature, they have generally been disregarded by historians as masking or distorting the everyday reality with an idealistic approach. This study aims to discuss how this interaction between this knightly ethic, promoted by the literature, and the knights of real life worked. By using evidence both from fictional and non-fictional works of the period, it tries to see the similarities between the fact and the fiction, and the sometimes common perceptions expressed by both fictional and factual narratives. This thesis reaches the conclusion that twelfth-century knights did come to regulate their behaviour within limits set by this knightly ethic and that, to an extent, they learned to do so from the literary works of the period. However, at the same time, to varying degrees, those fictional narratives were inspired and influenced by the actual social practices of the knights. 12. yüzyılın sonuna doğru, Kuzey-batı Avrupa'da asırlardır süregelen bilindik savaşçı etiğini yeni şekillenmekte olan rafine saray kültürüyle birleştiren yeni bir edebiyat türü oluşmaya başlamıştır. Bu edebiyat, Kral Arthur ve efsanevi yuvarlak masa şövalyelerinin uyguladığı varsayılan bir şövalye etiğini konu etmekteydi. Değişik edebi janrlarda çok çeşitli örneklerine rastladığımız bu tür, 12. yüzyıl şövalyesi ile karşılıklı bir etkileşim içinde gelişerek gerçek şövalye figürünü etkilemeye de girişmiştir. Bu edebi gelenek, içinde birçok kurmaca öğeyi de barındırdığından genellikle tarihçiler tarafından gerçeği yanlış yansıttığı bazen de gölgelediği gerekçesiyle göz ardı edilmiştir. Bu çalışma, çağın edebi ürünleri tarafından lanse edilen şövalyelik ülküsü ve gerçek şövalye figürü arasındaki etkileşimin nasıl vuku bulduğunu araştırmaktadır. Dönemin kurgusal ve kurgusal olmayan yazılı eserlerinden örnekler kullanarak gerçek ve edebiyat arasındaki benzerlikleri ve ortak algıları görmeyi amaçlar. Bu tez, bütün bu incelemeler sonucunda 12. yüzyılda şövalyelerin davranışlarını bir şövalye etiği sınırları çerçevesinde sınırlamaya başladıkları ve bir ölçüde de bunu dönemin edebiyat eserlerinde öğrendikleri sonucuna varır. Ancak aynı zamanda, bu kurmaca anlatılar da şövalyelerin günlük yaşamından ilham almış ve etkilenmişlerdir. 109
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=11693/14787&type=result"></script>');
-->
</script>
Green |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=11693/14787&type=result"></script>');
-->
</script>
In May, 1976, archaeological testing was carried out adjacent to the tower on the southeast corner of Mission San Francisco de la Espada (Fig. 1). The field work was conducted by an archaeological team from the Center for Archaeological Research, The University of Texas at San Antonio. Principal investigator for the project was Dr. Thomas R. Hester, Director of the Center; Research Associate Anne A. Fox was in charge of the field investigations. This research was done under the terms of State Antiquities Permit No. 112, issued to the Old, Spanish Missions Association, represented by Mr. Bernardo Fresquez, Superintendent. In recent times a large crack has formed in the east side of the tower and the surrounding wall bulges noticeably outward. The purpose of our brief investigation was to determine, if possible, the method of construction of the wall footings in order to aid in planning by architect Caroline Peterson (of Ford, Powell & Carson, Architects and Planners) for the stabilization and repair of the tower.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.21112/ita.1976.1.3&type=result"></script>');
-->
</script>
gold |
citations | 1 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.21112/ita.1976.1.3&type=result"></script>');
-->
</script>
pmid: 24861127
Edvard Munch is one the most transcendental artists of all times. His work is innovative in terms of reflecting the grief, sadness, loneliness and the impact of death in human beings as no one did it before. Behind his work it is possible to find many clues given by Munch himself of the reason of his creativity: a childhood surrounded by death and sorrow, and the development of an affective disorder that led him to alcoholism and many hospitalizations due to psychotic episodes. In this review, we analyze Munch's life and his disease that undoubtedly contributed to his great artistic legacy.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.4067/s0034-98872013000600012&type=result"></script>');
-->
</script>
Green | |
gold |
citations | 7 | |
popularity | Average | |
influence | Top 10% | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.4067/s0034-98872013000600012&type=result"></script>');
-->
</script>
Poster presented at TEI conference, Graz, 2019. The Text Encoding Initiative (TEI) was, from its beginnings, a very much Western, English-language project. However, its use is nowadays global. The efforts to internationalize the TEI's documentation started with an initiative led by Sebastian Rahtz by 2005. This work resulted in partial translations in Japanese, Chinese, Korean, Italian, Spanish, French, and German. Still, the TEI Guidelines are written and edited entirely in English, and most of the courses and tutorials are either written in English or use examples from European or North American literatures. We believe that, in order to adopt the TEI, the academic community, individuals and institutions, need to have more resources available in their native language. With this in mind, we have recently decided to undertake a still emerging project- the Text Technologies Hub or TTHub[1]-, an online open site that aims to function as a hub of materials in Spanish devoted to the global Spanish community interested in Digital Scholarly Edition with TEI and Text Technologies. Our goal is to serve as a hub of available online materials, resources, software, and technologies that can potentially serve those Spanish-speakers scholars interested in textual studies, digital editing, corpus construction, and digitization processes in Spanish. It can also help researchers interested in Hispanic Literatures. This poster aims to describe the goals, challenges, possible uses, and materials of the TTHUB. We believe resources as such can facilitate the learning experience of scholars and students in a self-taught experience, as part of the materials of an academic syllabus, or even as the common ground for teaching at workshops and other training events.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.5281/zenodo.3514440&type=result"></script>');
-->
</script>
Green |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.5281/zenodo.3514440&type=result"></script>');
-->
</script>
handle: 10525/2053
We describe an ontological representation of data in an archive containing detailed description of church bells. As an object of cultural heritage the bell has general properties such as geometric dimensions, weight, sound of each of the bells, the pitch of the tone as well as acoustical diagrams obtained using contemporary equipment. We use Protégé platform in order to define basic o ntological objects and relations between them.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.55630/dipp.2012.2.8&type=result"></script>');
-->
</script>
Green | |
gold |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.55630/dipp.2012.2.8&type=result"></script>');
-->
</script>
In 2013 Roberto Daolio, an important Italian contemporary art critic and curator passed away. His heirs Antonio Pascarella and Stefano Daolio gave his legacy to the MAMbo museum, made of the works of art he had been collecting over 30 years among the artists who crossed his professional (and often affective) career. This text is a brief analysis of the methodologies adopted and the problems encountered while studying his collection, as well as of all the testimonies and documents of its acquisition. The whole study group has had the unique chance of facing the problem of analysis, conservation and exposure of such a particular collection, in order to integrate new aspects in the ways acquisitions are usually studied. Although deeply different in quality, genre, format and support every work of art and every document in the archive had Roberto Daolio as common denominator, a new source of narration of the history of art in our most recent past.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=doajarticles::b8f5d8271ddd237a79d41ee2087ecc16&type=result"></script>');
-->
</script>
gold |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=doajarticles::b8f5d8271ddd237a79d41ee2087ecc16&type=result"></script>');
-->
</script>
La historia de la Reforma protestante en Portugal queda por escribir. En la Edad Moderna, las autoridades políticas y religiosas procuraron representar la tierra lusitana como la única que permanecía inmaculada y fiel a la Iglesia de Roma en la época de Lutero y de Calvino (se vanaglorió de ello en el Concilio de Trento, en 1545, el dominico portugués Jerónimo de Azambuja, que entró al servicio de la Inquisición en 1549). Sin embargo, aunque se haya negado durante mucho tiempo, como si se hub...
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=openedition_::6fe0cb70df0e6c4b05ccd6c83b691adb&type=result"></script>');
-->
</script>
bronze |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=openedition_::6fe0cb70df0e6c4b05ccd6c83b691adb&type=result"></script>');
-->
</script>
El propósito de este trabajo es despertar el interés por la lectura de Aristófanes, concretamente de la Lisístrata, por los muchos datos que ofrece: históricos, sociales, políticos, míticos y religiosos. La protagonista de tal comedia es la primera heroína femenina del teatro aristofánico. La relación de la comedia antigua con la vida política es permanente, incesante: las mujeres atenienses, cansadas de la guerra contra los lacedemonios, deciden obtener la paz de una forma singular: absteniéndose de relaciones sexuales con sus esposos y, asimismo, de sus obligaciones familiares. La utopía cómica, el mundo al revés, se nos manifiesta de modo evidente. This paper aims to obtain a lot of readers of Aristophanes´works, Lysistrata, above all. This piece offers many historical, social, political, mythical and religious data. The main character is, in fact, the first aristophanic heroin. The relation between ancient comedy and political life is permanent, incessant: Athenian women, tired of the war against the Lacedemons, decide to make peace in a peculiar way: abstinence of sexual intercourse with their lovers and absence of family duties. Comic utopy is everywhere. Centro de Estudios de Lenguas Clásicas. Area Filología Griega
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=dedup_wf_002::7b6a73c919ea4e631e3aeb3a5f3000e5&type=result"></script>');
-->
</script>
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=dedup_wf_002::7b6a73c919ea4e631e3aeb3a5f3000e5&type=result"></script>');
-->
</script>
BOB Hydrographics, LLC conducted a marine geophysical survey and archaeological assessment of a proposed construction access channel in Galveston County, on behalf of HDR Engineering, Inc. A proposed 25-acre bay access channel would cross portions of State Mineral Lease Tracts, West Bay 59, 65 and 66 in West Galveston Bay. The channel would provide construction access to build a breakwater for the Galveston Island State Park Marsh Protection and Restoration Project, sponsored by the General Land Office. An archaeological survey was requested by the U.S. Army Corps of Engineers, Galveston District, based on their review of Permit Application SWG-1998-02298. Consultation between the Texas Historical Commission and the Galveston District concluded that archaeological survey only would be required for the channel providing access from the bay to the island and not for areas adjacent and including the proposed breakwaters. The area of potential effect encompasses 70 acres, including a 50-meter buffer mandated by the Texas Historical Commission around the proposed channel. A review of cultural background determined that 1 marine archaeological investigation and, at least, 1 wreck have been reported within 3 miles of the survey area. BOB completed a marine geophysical survey on May 9, 2019 under Texas Antiquities Permit 8906. A total of 140 acres was surveyed to provide options for adjusting the route if necessary. Water depth at the time of the survey ranged from 4 to 9 feet. BOB assessed all geophysical data to locate archaeological sites potentially affected by construction of the access channel. No artifacts were collected during the survey. No significant geophysical targets were discovered that might be potentially eligible for the State Antiquities Landmark or for the National Register of Historic Places. BOB recommends cultural resource clearance for all areas surveyed, provided that a THC-mandated 50-meter buffer is honored around the perimeter of the survey area. This study was completed in compliance with Section 106 of the National Historic Preservation Act (Public Law 89-665; 16 U.S.C. 470) and the Antiquities Code of Texas (Texas Natural Resource Code, Title 9, Chapter 191). The minimum reporting and survey requirements for marine archaeological studies conducted under a Texas Antiquities Permit are mandated by The Texas Administrative Code, Title 13, Part 2, Chapters 26 and 28, respectively. Project records are curated at the Center for Archaeological Studies at Texas State University in San Marcos.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.21112/ita.2019.1.17&type=result"></script>');
-->
</script>
gold |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.21112/ita.2019.1.17&type=result"></script>');
-->
</script>
This essay is about getting inside the sensibility of the archaic past.[1] Can we get into the creative mind of the painter of The Sorcerer? Can we reconstruct the sensibility of prehistoric humans? Can we recover the humor of the prehistoric artist? Can we do it? After all, sense equipment is the same in men and women of all ages, and though each age inflects its sense usages uniquely, there should remain an underlying continuity among sensibilities. Shouldn't we be able to return into earlier forms of those usages? Can we tell whether we have been successful in accomplishing that return? Can just getting inside the sensibility of the past be of use to us in our own quest for humanity?[2] Or is there some other justification for a regression into the sensibility of the past? I tackle those questions here.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=dedup_wf_002::e2915adc52cd9cb02f849f92c1d4872f&type=result"></script>');
-->
</script>
gold |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=dedup_wf_002::e2915adc52cd9cb02f849f92c1d4872f&type=result"></script>');
-->
</script>
handle: 11693/14787
By the end of the twelfth-century, a new type of literature had come into being in North-western Europe, combining an older warrior ethic with the newly formed refined culture of the courts. This literature centred on a knightly ethic that was presumed to have been practiced by King Arthur and his knights sitting at the legendary Round table. In the various examples of this literature in different genres, this knightly ethic interacted with and attempted to influence the real knights of the twelfth century. Because these works embodied many fictional elements in their nature, they have generally been disregarded by historians as masking or distorting the everyday reality with an idealistic approach. This study aims to discuss how this interaction between this knightly ethic, promoted by the literature, and the knights of real life worked. By using evidence both from fictional and non-fictional works of the period, it tries to see the similarities between the fact and the fiction, and the sometimes common perceptions expressed by both fictional and factual narratives. This thesis reaches the conclusion that twelfth-century knights did come to regulate their behaviour within limits set by this knightly ethic and that, to an extent, they learned to do so from the literary works of the period. However, at the same time, to varying degrees, those fictional narratives were inspired and influenced by the actual social practices of the knights. 12. yüzyılın sonuna doğru, Kuzey-batı Avrupa'da asırlardır süregelen bilindik savaşçı etiğini yeni şekillenmekte olan rafine saray kültürüyle birleştiren yeni bir edebiyat türü oluşmaya başlamıştır. Bu edebiyat, Kral Arthur ve efsanevi yuvarlak masa şövalyelerinin uyguladığı varsayılan bir şövalye etiğini konu etmekteydi. Değişik edebi janrlarda çok çeşitli örneklerine rastladığımız bu tür, 12. yüzyıl şövalyesi ile karşılıklı bir etkileşim içinde gelişerek gerçek şövalye figürünü etkilemeye de girişmiştir. Bu edebi gelenek, içinde birçok kurmaca öğeyi de barındırdığından genellikle tarihçiler tarafından gerçeği yanlış yansıttığı bazen de gölgelediği gerekçesiyle göz ardı edilmiştir. Bu çalışma, çağın edebi ürünleri tarafından lanse edilen şövalyelik ülküsü ve gerçek şövalye figürü arasındaki etkileşimin nasıl vuku bulduğunu araştırmaktadır. Dönemin kurgusal ve kurgusal olmayan yazılı eserlerinden örnekler kullanarak gerçek ve edebiyat arasındaki benzerlikleri ve ortak algıları görmeyi amaçlar. Bu tez, bütün bu incelemeler sonucunda 12. yüzyılda şövalyelerin davranışlarını bir şövalye etiği sınırları çerçevesinde sınırlamaya başladıkları ve bir ölçüde de bunu dönemin edebiyat eserlerinde öğrendikleri sonucuna varır. Ancak aynı zamanda, bu kurmaca anlatılar da şövalyelerin günlük yaşamından ilham almış ve etkilenmişlerdir. 109
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=11693/14787&type=result"></script>');
-->
</script>
Green |
citations | 0 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=11693/14787&type=result"></script>');
-->
</script>
In May, 1976, archaeological testing was carried out adjacent to the tower on the southeast corner of Mission San Francisco de la Espada (Fig. 1). The field work was conducted by an archaeological team from the Center for Archaeological Research, The University of Texas at San Antonio. Principal investigator for the project was Dr. Thomas R. Hester, Director of the Center; Research Associate Anne A. Fox was in charge of the field investigations. This research was done under the terms of State Antiquities Permit No. 112, issued to the Old, Spanish Missions Association, represented by Mr. Bernardo Fresquez, Superintendent. In recent times a large crack has formed in the east side of the tower and the surrounding wall bulges noticeably outward. The purpose of our brief investigation was to determine, if possible, the method of construction of the wall footings in order to aid in planning by architect Caroline Peterson (of Ford, Powell & Carson, Architects and Planners) for the stabilization and repair of the tower.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.21112/ita.1976.1.3&type=result"></script>');
-->
</script>
gold |
citations | 1 | |
popularity | Average | |
influence | Average | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.21112/ita.1976.1.3&type=result"></script>');
-->
</script>
pmid: 24861127
Edvard Munch is one the most transcendental artists of all times. His work is innovative in terms of reflecting the grief, sadness, loneliness and the impact of death in human beings as no one did it before. Behind his work it is possible to find many clues given by Munch himself of the reason of his creativity: a childhood surrounded by death and sorrow, and the development of an affective disorder that led him to alcoholism and many hospitalizations due to psychotic episodes. In this review, we analyze Munch's life and his disease that undoubtedly contributed to his great artistic legacy.
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.4067/s0034-98872013000600012&type=result"></script>');
-->
</script>
Green | |
gold |
citations | 7 | |
popularity | Average | |
influence | Top 10% | |
impulse | Average |
<script type="text/javascript">
<!--
document.write('<div id="oa_widget"></div>');
document.write('<script type="text/javascript" src="https://www.openaire.eu/index.php?option=com_openaire&view=widget&format=raw&projectId=10.4067/s0034-98872013000600012&type=result"></script>');
-->
</script>
Poster presented at TEI conference, Graz, 2019. The Text Encoding Initiative (TEI) was, from its beginnings, a very much Western, English-language project. However, its use is nowadays global. The efforts to internationalize the TEI's documentation started with an initiative led by Sebastian Rahtz by 2005. This work resulted in partial translations in Japanese, Chinese, Korean, Italian, Spanish, French, and German. Still, the TEI Guidelines are written and edited entirely in English, and most of the courses and tutorials are either written in English or use examples from European or North American literatures. We believe that, in order to adopt the TEI, the academic community, individuals and institutions, need to have more resources available in their native language. With this in mind, we have recently decided to undertake a still emerging project- the Text Technologies Hub or TTHub[1]-, an online open site that aims to function as a hub of materials in Spanish devoted to the global Spanish community interested in Digital Scholarly Edition with TEI and Text Technologies. Our goal is to serve as a hub of available online materials, resources, software, and technologies that can potentially serve those Spanish-speakers scholars interested in