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Frich Pedersen, J., Biskjaer, M. M. & Dalsgaard, P. (2018). Why HCI and Creativity Research Must Collaborate to Develop New Creativity Support Tools. In Proceedings of American Psychological Association’s conference on Technology, Mind & Society Article 10 Association for Computing Machinery. https://doi.org/10.1145/3183654.3183678

Khair, T. (2023). Why has the Rule of Law become so Fragile? The India Forum: A Journal-Magazine on Contemporary Issues, 2023. https://www.theindiaforum.in/essay/why-has-rule-law-become-so-fragile

Kjeldgaard-Christiansen, J. (2020, Jan 15). Why has it become so difficult to spot who’s the villain in Disney films? Evolutionary Studies in Imaginative Culture (ESIC). https://esiculture.com/blog/2020/1/15/whos-the-villain-in-disney-films

Vikner, S. (2019). Why German is not an SVO-language but an SOV-language with V2. In A. M. Nyvad (Ed.), A Sound Approach to Language Matters: In Honour of Ocke-Schwen Bohn (pp. 437-447). AU Library Scholarly Publishing Services. https://doi.org/10.7146/aul.322.218

Scrivner, C. & Clasen, M. (2022). Why frightening imaginary worlds? Morbid curiosity and the learning potential of horror. Behavioral and Brain Sciences, 45, Article E297. https://doi.org/10.1017/S0140525X21002259

Payne, E. A. (2024). Why ‘El Greco to Goya’? Teaching, Curating, and Writing Spanish Art History in the Anglophone World. Manuscript submitted for publication.

Hansen, L. E. & Degn, H.-P. (2021). Why do people attend cultural events? Towards a typology of motivations. Abstract from NCCPR 2021: Nordic Conference on Cultural Policy Research, Borås, Sweden.

Jensen, P. M. (2016). Why Does the World Love Danish Television Drama?. Abstract from SMID Biennial Meeting, Middelfart, Denmark.

Jensen, P. M. (2015). Why does Danish TV Drama Travel? A Three-Tier Seven-Country Audience Study on the Rise of Denmark’s Transnational TV Culture: A Three-Tier Seven-Country Audience Study on the Rise of Denmark’s Transnational TV Culture. Paper presented at IAMCR 2015, Montreal, Canada.

Nielsen, J. I. (2018). Why Danish TV Series Travel. Poster session presented at Transnational Television Drama, Aarhus, Denmark.

Engels, E. (2012). Wh-phrases and neg-phrases in clauses and nominals. Working Papers in Scandinavian Syntax, 89, 1-36.

Hermann, P. (2010). Who were the Papar? Typological structures in Íslendingabók. In J. Sheehan & D. Ó Corráin (Eds.), The Viking Age. Ireland and the West.: Proceedings of the Fifteenth Viking Congress (pp. 145-153). Four Courts Press.

Kuhlmann, A. (2022). Who's there? - Agency, temporality and spatiality in theatre historiography exemplified with the first Danish stage production of Hamlet in Denmark, 1813. 52-53. Abstract from International Federation of Theatre Research World Congress 2022 , Reykjavík, Iceland.

Borkfelt, S. (2022). Who Slaughters and Who Consumes? On Butcher(ing) Identities. In Reading Slaughter: Abattoir Fictions, Space, and Empathy in Late Modernity (pp. 181-221). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-98915-6_6

Bechmann, A. (2017). Whose vision? The Use of Convolutional Neural Networks on Facebook Images. Abstract from Social AI, Irvine, CA, United States.

Bechmann, A. & Bowker, G. C. (2017). Whose Ontologies, at what Cost? AI and Invisibility in Social Media Arenas. Abstract from Propaganda and Media Manipulation, New York, United States.

Sparre, K. (2017). Whose news is it anyway? A study of native advertising practices in Danish journalistic media. Abstract from Future of Journalism 2017, Cardiff, United Kingdom.

Michelsen, L. L. (2024). Who Sees with Machines? A Review of Jill Walker Rettberg’s (Perhaps Not So) Posthuman Book on Machine Vision. Electronic Book Review, 2024.

Refskou, A. S. (2017). Whose Castle is it Anyway?: Local/Global Negotiations of a Shakespearean Location. Multicultural Shakespeare: Translation, Appropriation and Performance, 15(30), 121-132. https://doi.org/https://czasopisma.uni.lodz.pl/szekspir/article/view/2279

Karlsson, A. (2021). Whose bodies? Approaching the quantified menstruating body through a feminist ethnography. In B. Ajana, J. Braga & S. Guidi (Eds.), The Quantification of Bodies in Health: Multidisciplinary Perspectives (pp. 117-132). Emerald Group Publishing.

Matzen, P. L. (2024). Whose Bildung? Institutional self-critique in art exhibitions on colonial history. [PhD thesis, Aarhus University].

Ledderer, L. K. & Fage-Butler, A. (2022). WHO’s communication on Twitter about the risks of COVID-19: A discourse analysis of WHO’s tweets. Abstract from The 24th World Conference on Health Promotion, Montreal, Canada.

Fage-Butler, A. & Ledderer, L. K. (2021). WHO's communication on Twitter about the risks of Covid-19. Abstract from Communication, Medicine & Ethics (COMET). https://www.uninsubria.eu/sites/sten/files/File_Eventi/COMET2021/COMET%202021_BoA_1.pdf

Sun, A., Londono, J. J., Elbaum, B., Estrada, L., Lazo, R. J., Vitale, L., Villasanti, H. G., Fusaroli, R., Perry, L. K. & Messinger, D. S. (2024). Who Said what? An Automated Approach to Analyzing Speech in Preschool Classrooms. In 2024 IEEE International Conference on Development and Learning (ICDL) (pp. 1-8). IEEE. https://doi.org/10.1109/ICDL61372.2024.10644508

Sun, A., Londono, J. J., Elbaum, B., Estrada, L., Lazo, R. J., Vitale, L., Villasanti, H. G., Fusaroli, R., Perry, L. K. & Messinger, D. S. (2024). Who Said What? An Automated Approach to Analyzing Speech in Preschool Classrooms.

Philipsen, L. (2014). Who's Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics. A Peer-Reviewed Journal About, 3(1). http://www.aprja.net/?p=1768

Kjeldgaard-Christiansen, J., Fiskaali, A., Johnson, J. A., Clasen, M., Høgh-Olesen, H. & Smith, M. (2019). Who Roots for the Villain: A Survey on the Psychology of Positive Engagement with Villainous Characters. Abstract from SCSMI 2019, Hamburg, Germany.

Salovaara-Moring, I. (2011). Who pays for Good Journalism?.

Salovaara-Moring, I. & Juzefovicz, J. (2012). Who pays for good journalism? Accountability journalism and media ownership in the Central and Eastern European Countries. Journalism Studies. https://doi.org/10.1080/1461670X.2012.664425

Poddar, P. (2003). Whom do you work for?. Paper presented at Humanistiske Vinkler på Viden, September 2003, København.

Freudendal, J. (2024). Who knows the audience best: Scandinavian media institutions’ production and use of audience data. Abstract from ECREA 2024, Ljubljana, Slovenia.

Bundgaard, K. & Brøgger, M. N. (2019). Who is the back translator? An integrative literature review of back translator descriptions in cross-cultural adaptation of research instruments. Perspectives - Studies in Translation Theory and Practice, 27(6), 833-845. https://doi.org/10.1080/0907676X.2018.1544649

Madsen, C. (2024). Who Is Speaking? The Rhetorical Construction of the “I” That Speaks. Paper presented at Speechwriting Seminar , Aarhus, Denmark.

Bergenholtz, H. & Gouws, R. (2012). Who is a lexicographer? Lexicon, 42, 68-78.

Tarp, S. & Nomdedeu-Rull, A. (2024). Who Has the Last Word? Lessons from Using ChatGPT to Develop an AI-based Spanish Writing Assistant. Círculo de Lingüística Aplicada a la Comunicación, 97, 309-321. https://doi.org/10.5209/clac.91985

McQuaid, S. D. (2021). Who Fears to Remember it Well? History. Advance online publication.

Stephan, M. (2010). Whodunit? And how do we know? (or do we?): The structure of the epistemological investigation in Detective Fiction. Paper presented at Emotion, Media and Crime Conference, Aarhus, Denmark.

Refskou, A. S. (2021). Who Do You Think You Are? (BBC). Pictures, Video and sound recordings (digital) https://www.youtube.com/watch?v=HzbVOc1LkfU

Møller, N. H., Bossen, C., Pine, K. H., Rask Nielsen, T. & Neff, G. (2020). Who does the work of data? interactions, 27(3). https://doi.org/10.1145/3386389

Gjerlevsen, S. Z. (2020). Who Can Write Sensible Books in such Weather? Carl August Thielo as Experimental Eighteenth-century Novelist. In G. Hermansson & J. Lohfert Jørgensen (Eds.), Exploring Nordic Cool – in Literary History (pp. 287–302). John Benjamins Publishing Company. https://doi.org/10.1075/fillm.15

Brems, M. (2024). Who are the users of Danish alternative media? A survey study on the prevalence of alternative news use in Denmark and profiles of the users. Nordicom Review, 45(1), 81-113. https://doi.org/10.2478/nor-2024-0014

Sadan, R. (2023). Whitewash and Wall Paintings in Early Modern Europe and Beyond. Paper presented at Annual Meeting of the Renaissance Society of America, United States.

Led, J. C. L. (2004). Whispering in Empty Places of Screaming from Crowded Stages? Commitment as Interruption and as Radical Realism in Frank Castorf's 'The Idiot'. Nordic Theatre Studies, 16, 93-.

Nyvad, A. M. (2018). Wh-In-Situ in the Acquisition of French - A Question of Theory of Mind?. Poster session presented at GENWH 2018, Genève, Switzerland.

Borcak, L. M. L. W. (2015). Where to Draw the Line: Representation in Intermedial Song Analysis. In C. Maeder & M. Reybrouck (Eds.), Music, Analysis, Experience: New Perspectives in Musical Semiotics (pp. 135-147). Leuven University Press.

Djurslev, A. T. (2024). Where the Present Begins to Appear as Past: Mediating Contemporaneity in a Museum of the Future. [PhD thesis, Aarhus University]. Aarhus University.

Martin, D. G. (2019). Where the Forest Thickens: Tools for engaging with memory questions through aesthetic experiences. http://www.unrest.eu/pedagogical-package/

Green, K. R. (2023). “Where’s My Change?” Re-Imagining Money in Feminist Political Economy. Aarhus Universitet.

Pedersen, M. R. (2022). Where is the harm? Exploring online peer-support forums for people sexually attracted to minors as platforms to prevent child sexual abuse. In D. Stelzmann & J. Ischebeck (Eds.), Child Sexual Abuse and the Media (pp. 279-302). Nomos Verlagsgesellschaft.

Goldshtein, Y. (2018). Where is 'it' - Phonetic reduction of the clitic pronoun -ə in Himmerlandsk. Abstract from Phonetics and phonology in Denmark, Aarhus, Denmark.

Displaying results 351 to 400 out of 24757

Revised 22.08.2023

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