Data

Alors qu’elles constituent la moitié du genre humain, les femmes ont été longtemps absentes du récit transnational du passé et invisibles dans la sphère des relations internationales. La professionnalisation de la diplomatie au XIXe siècle a fait de ce domaine un bastion du pouvoir masculin où l’accès des femmes ne fut qu’aléatoire et discrétionnaire. Après la Seconde Guerre mondiale, la reconnaissance par l’ONU des droits des femmes (1946) sensibilise progressivement les opinions publiques et incite les États à l’action politique.

The reality of the past is complex in its many facets and perspectives; however, dominant historical narratives have overtaken the representation of the past through a simplified version from a single perspective. Academics are complicit in this process, not only by emphasizing some types of (historic) source material over others but also by claiming authority over the past. Sharing the authority to narrate the past is therefore a crucial step to allow uncertainty back into the historical narrative.

This guide was created as part of the ATTRACT project Public History as the New Citizen Science of the Past (PHACS), funded by the Fonds National de la Recherche (FNR)

We have a special episode today from DePOT affiliates at the University of Luxembourg examining the steel crisis in Luxembourg in the 1970s and the deindustrialization of East Germany's steel sector after 1990. Stefan Krebs, the head of the project Confronting Decline (CONDE) is joined by two PhD students, Zoé Konsbruck and Nicolas Arendt to discuss their research into the impacts industrial closure had on steel towns, with a particular emphasis on transnational comparisons.

This presentation is aiming at illustrating and sharing my experience in how to incorporate interdisciplinarity, multimedia research and creativity in designing courses and teaching about the European history, and how to engage students and focus their learning on these topics.

Le banquet des fraudeurs (1952) apparaît comme une œuvre atypique dans la filmographie de Henri Storck. Anomalie dans une carrière principalement dédiée au documentaire pour les uns, film hybride de multiples concessions ou instrumentalisations politiques pour les autres, ce premier long métrage de fiction tourné pour partie dans ce que deviendra l’Euregio Meuse-Rhin, résiste a priori à bien des grilles d’analyse développées au contact de la riche filmographie du cinéaste belge. L’hétérogénéité stylistique du film n’y est pas pour rien.

The VYSH project uses various artificial intelligence technologies to create embroidery designs for the stage costumes of the Luxembourg dance group Berehyni, which popularizes historical Ukrainian dances. During the experiment, two different AI programs (Stable Diffusion and Midjourney) were used to test the possibilities of the technologies, the aesthetic results, and their applicability for a programmable embroidery machine.

The «long» 1960s in Western Europe saw a dynamic development of mass consumption, especially in the field of consumer electronics. Media artifacts, such as transistor radios, television sets, or cassette recorders all became significantly more common in Luxembourg, France, and Germany, influencing the composition of the media ensemble and opening up new ways for consumers to interact with media.

Les relations entre la Belgique et l’Allemagne sont souvent décrites par les acteurs politiques et diplomatiques comme étant parmi les plus étroites et les moins conflictuelles au sein de l’Union Européenne. Certains indicateurs macro-économiques corroborent cette assertion. On ne peut nier que le rapprochement entre la Belgique et l’Allemagne de l’Ouest dans le contexte de la guerre froide et de l’intégration européenne fait partie des évolutions historiques les plus remarquables de la deuxième moitié du XXe siècle.

This paper examines the annotation practices behind DHARPA (the Digital History Advanced Research Accelerator project) and its innovative data orchestration tool, kiara. By focusing on the importance of annotation across various stages of research, kiara aims to enhance transparency and traceability in humanities research. Kiara’s design draws on the wide range of research experiences of the project’s team members and its collaborators.

This article seeks to historicise the use of new technologies in historical research and reflect on the differences between working with online and traditional archives from a historian’s perspective. In doing so, it will discuss the various factors that must be considered, what political dimensions of archival and curatorial work exist and how they change in a digital context.

By considering the flows, mobilities and networks of foreign labour in the Minette cross-border basin during the inter-war period, we wanted to make a contribution to migration studies by tackling, in a transnational approach, a subject that requires several heuristic approaches and that is part of a relatively short period of time, marked by a turning point in national policies for controlling mobility, and characterised by a certain stability of state borders but also by economic and geopolitical tensions.

My presentation at the panel aims to enlighten some value, challenges and issues related to the heritagisation of code.