NOnt has been implemented as an extension of three standard vocabularies, i.e. In particular, this paper presents a conceptualisation of the domain of narratives, and its specification through the Narrative Ontology (NOnt for short), expressed in first-order logic. The present work aims at introducing narratives as first-class citizens in DLs, by providing a formal expression of what a narrative is. books, images, audiovisual objects), without regard for the narratives themselves. Certainly, DLs offer discovery functionalities over their contents, but these services merely address the objects that carry the narratives (e.g. However, DLs do not offer services about narratives, for example it is not possible to discover a narrative, to create one, or to compare two narratives. Every digital object in a DL tells some kind of story, regardless of the medium, the genre, or the type of the object. Overall, these epistemic competitions not only shaped the interviewees’ identity work, but they also made the link between storytelling and the social context more tangible as they brought – typically rather elusive – master narratives to the surface.ĭigital Libraries (DLs), especially in the Cultural Heritage domain, are rich in narratives. On the other hand, the interviewees derive their epistemic authority from their first-hand experience as Jewish Holocaust survivors, on which they draw in order to counter these story projections, whilst constructing a more distinct self-positioning to protect their nuanced personal identity work. On the one hand, the analyses illustrate how the interviewers rely on their historical expert status – as evidenced through their specialist knowledge and ventriloquisation of vicarious WWII narratives – in order to topicalise certain master narratives and thereby attempt to project particular identities upon the interviewees. In particular, we analyse how the interlocutors draw on their epistemic authority concerning WWII to construct their interactional telling rights. In this article, we scrutinise epistemic competitions in interviews about World War II. The linking among different datasets allows to considerably enrich the knowledge collected in the IMAGO KB. Wikidata, the MIRABILE digital archive, the Nuovo Soggettario thesaurus, Mapping Manuscript Migration knowledge base and the Pleiades gazetteer. In particular, the linked information spaces created within the IMAGO project make use of five different datasets, i.e. In the presented case study, a linked information space was created to allow users to discover and navigate knowledge across multiple repositories, thanks to the extensive use of ontologies. To support the argument, we present our experience in developing a scientific DL supporting scholars in creating, evolving and consulting a knowledge base related to Medieval and Renaissance geographical works within the three years (2020–2023) Italian National research project IMAGO-Index Medii Aevi Geographiae Operum. This paper presents how the current scientific DLs in the DH field can provide the creation of linked information spaces and navigational services that allow users to navigate them, using Semantic Web technologies to formally represent, search and browsing knowledge. In several cases, to reach these aims the Semantic Web technologies and Linked Data have been used. These DLs aim at sharing the research outcomes, in several cases as FAIR data, and at creating linked information spaces. In the last years, several scientific digital libraries (DLs) in digital humanities (DH) field have been developed following the Open Science principles. Narratives constructed through Storyspace can be tailored to suit different audiences and can be presented in different forms, such as physical exhibitions, museum tours, leaflets and catalogues, or as online experiences. Based on the curator's choice, the narrative module suggests a coherent ordering for the events of a story and its associated heritage objects. We describe how the narrative component of the Storyspace software can produce multiple narratives from the underlying stories and plots of curated exhibitions. Storyspace is a web interface to an ontology for describing curatorial narratives. These authorial decisions can produce different dramatic effects. This paper describes techniques for creating multiple alternative narrative structures from a single underlying story, by selecting different organising principles for the events and plot structures of the story. The same underlying story can be presented in a number of different ways. In a curated exhibition of a museum or art gallery, a selection of heritage objects and associated information is presented to a visitor for the purpose of telling a story about them.
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