The constituency of Digital Humanities in India

IF 0.3 0 ASIAN STUDIES
Sunanda Kar, Avishek Ray
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引用次数: 0

Abstract

ABSTRACT Digital Humanities (DH), as an emergent field, is increasingly gaining traction within the Indian academe. It is credited with pumping fresh life into studying the Humanities at a time when the relevance of Humanities is being questioned. However, the role of the ‘digital’ in studying the Humanities – whether DH is an autonomous field, or merely a data-driven technique/application, or characterises new methodologies that equip us to probe into new ‘objects of inquiries – is often debated. In this article, we revisit the debates, contentions and contingencies around DH, with the intent to stir up conversations on the concerns about and faultlines of what may be referred to as an ‘Indian framework’ of DH practice. We examine the constituency of DH in India and the epistemic implications of the attempts towards its formalisation, which must be understood as a knowledge project linked to the prevailing episteme. In brief, we examine the ‘epistemic rupture’ that marks the emergence of DH in India.
印度数字人文学科的成员
ABSTRACT Digital Humanities (DH), as an emerging field, is increasingly gaining traction within the Indian academic.在人文学科的相关性受到质疑之际,数字人文学科为人文学科的研究注入了新的活力。然而,"数字 "在人文学科研究中的作用--数字人文科学究竟是一个独立的领域,还是仅仅是一种数据驱动的技术/应用,抑或是使我们有能力探究新的 "研究对象 "的新方法论的特征--经常引起争论。在这篇文章中,我们将重新审视围绕人文学科的辩论、争论和突发事件,旨在引发人们对人文学科实践的 "印度框架 "的关注和缺陷的讨论。我们研究了印度的 DH 群体以及试图将其正规化的认识论影响,必须将其理解为与主流认识论相关的知识项目。简而言之,我们研究了标志着印度 DH 兴起的 "认识论断裂"。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
South Asian Popular Culture
South Asian Popular Culture Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.00
自引率
0.00%
发文量
29
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