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The aim of this poster is to provide an overview of the principal objectives of the newly started H2020 Computational Literary Studies (CLS) project- https://www.clsinfra.io. CLS is a infrastructure project works to develop and bring together resources of high-quality data, tools and knowledge to aid new approaches to studying literature in the digital age. Conducting computational literary studies has a number of challenges and opportunities from multilingual and bringing together distributing information. At present, the landscape of literary data is diverse and fragmented. Even though many resources are currently available in digital libraries, archives, repositories, websites or catalogues, a lack of standardisation hinders how they are constructed, accessed and the extent to which they are reusable (Ciotti 2014). CLS project aims to federate these resources, with the tools needed to interrogate them, and with a widened base of users, in the spirit of the FAIR and CARE principles (Wilkinson et al. 2016). The resulting improvements will benefit researchers by bridging gaps between greater- and lesser- resourced communities in computational literary studies and beyond, ultimately offering opportunities to create new research and insight into our shared and varied European cultural heritage. Rather than building entirely new resources for literary studies, the project is committed to exploiting and connecting the already-existing efforts and initiatives, in order to acknowledge and utilize the immense human labour that has already been undertaken. Therefore, the project builds on recently- compiled high-quality literary corpora, such as DraCor and ELTeC (Fischer et al. 2019, Burnard et al. 2021, Schöch et al. in press), integrates existing tools for text analysis, e.g. TXM, stylo, multilingual NLP pipelines (Heiden 2010, Eder et al. 2016), and takes advantage of deep integration with two other infrastructural projects, namely the CLARIN and DARIAH ERICs. Consequently, the project aims at building a coherent ecosystem to foster the technical and intellectual findability and accessibility of relevant data. The ecosystem consists of (1) resources, i.e. text collections for drama, poetry and prose in several languages, (2) tools, (3) methodological and theoretical considerations, (4) a network of CLS scholars based at different European institutions, (5) a system of short-term research stays for both early career researchers and seasoned scholars, (6) a repository for training materials, as well as (7) an efficient dissemination strategy. This is achieved through a collaboration between participating institutions: Institute of Polish Language at the Polish Academy of Sciences, Poland; University of Potsdam, Germany; Austrian Academy of Sciences, Austria; National University of Distance Education, Spain; École Normale Supérieure de Lyon, France; Humboldt University of Berlin, German; Charles University, Czech Republic; Digital Research Infrastructure for the Arts and Humanities, France; Ghent Centre for Digital Humanities, Ghent University, Belgium; Belgrade Centre for Digital Humanities, Serbia; Huygens Institute for the History of the Netherlands (Royal Netherlands Academy of Arts and Sciences), Netherlands; Trier Center for Digital Humanities, Trier University, Germany; Moore Institute, National University of Ireland Galway, Ireland; This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 101004984. References Ciotti, Fabio. 2014. „Digital literary and cultural studies: the state of the art and perspectives“.Between4/8, 1-17.https://doi.org/10.13125/2039-6597/1392. Borgman, Christine. 2010. Scholarship in the Digital Age : Information, Infrastructure, andthe Internet. Cambridge, Mass & London: MIT Press. See https://www.dariah.euandhttps://www.clarin.eu. Burnard, Lou, Christof Schöch, and Carolin Odebrecht. 2021. „In search of comity: TEI fordistant reading“.Journal of the Text Encoding Initiative. https://doi.org/10.4000/jtei.3500. Eder, M., Rybicki, J. and Kestemont, M. 2016. Stylometry with R: a package forcomputational text analysis.R Journal, 8(1): 107-21.https://journal.r-project.org/archive/2016/RJ-2016-007/index.html Fischer, Frank, Ingo Börner, Matthias Göbel, Andrea Hechtl, Christopher Kittel, P. Miling, andPeer Trilcke. 2019. „Programmable Corpora: Introducing DraCor, an Infrastructure for theResearch on European Drama“. InBook of Abstractsof the Digital Humanities Conference2019. Utrecht: ADHO. Heiden, Serge. 2010. The TXM Platform: Building Open-Source Textual Analysis SoftwareCompatible with the TEI Encoding Scheme. In24th PacificAsia Conference on Language,Information and Computation(pp. 10 p.). Sendai, Japon.Retrieved fromhttp://halshs.archivesouvertes.fr/docs/00/54/97/64/PDF/paclic24_sheiden.pdf Schöch, Christof, Tomaz Erjavec, Roxana Patras, and Diana Santos (in press). „Creatingthe European Literary Text Collection (ELTeC): Challenges and Perspectives”.ModernLanguages Open. Wilkinson, Mark D., Michel Dumontier, IJsbrand Jan Aalbersberg, Gabrielle Appleton, MylesAxton, Arie Baak, Niklas Blomberg. 2016. „The FAIR Guiding Principles for Scientific DataManagement and Stewardship“.Scientific Data 3(1).https://doi.org/10.1038/sdata.2016.18.

D 2.1: Initial plan for communication and dissemination of project results and RI access, including audience/instrument mapping and communications KPIs (M6, to be updated continuously from then on until M 48).

This dissertation analyses the relationship between moments of significant social change on the island of Ireland and performance practice between 1972-2014. Through investigating the Troubles, Second-Wave Feminism, and the Celtic Tiger primarily, this dissertation argues that key moments of social change on the island of Ireland are captured by a diversification of performance form, which fundamentally re-writes the role of the audience. The investigation charts how moments of social change influence a diversification of performance form such as the proliferation of community, collaborative art practice and collaborative woman-led performance in the 1980s, devised theatre in the 1990s, and immersive performance in the 2010s. The central claims of this dissertation are that (1) diverse performance practices emerged adjacent to the more established modern literary theatre to focus on marginalised experiences, illuminating the realities of everyday life for those who experienced violence, oppression, and trauma, and (2) that the relationship between the audience and the performance has changed significantly in Irish theatre in recent decades. Consequentially, this dissertation demonstrates a tangible link between shifting paradigms in performance practice and social change on the island of Ireland. The methodological approach is principally led through the lens of theatre and performance studies, cultural studies, and feminisms. Major critical frameworks that are essential to the analysis include postmodernism, audience reception theory, and feminism. These methodologies and frameworks are fundamental to this research as they provide clear parameters for the analysis of social change and performance practice on the island of Ireland since 1972. This research contributes to established knowledge within the field by proposing new insights and perspectives on performance practice on the island of Ireland. It focuses on radical theatre and performance practice which lies outside of the dominant literary canon and the single-authored text model. This dissertation presents an all-island study of theatre and performance practices through a forty-year period, illuminating the relationships between theatre and performance practice on both sides of the Irish border. It also presents a multi-paradigm study that analyses the links in performance lineage across political borders to investigate the connections embodied art practices and contemporary Irish theatre practice. Through this study, the research demonstrates how the landscape of theatre and performance practice has altered considerably since 1972. This analysis of the proliferation of radical performance practice fundamentally observes how the role of the audience has developed and diversified to occur as part of a wide spectrum of participation, and one that is significantly distinct from the traditionally established role of the audience in twentieth century Irish theatre. 2024-05-01