Institut for Kommunikation og Kultur

Aarhus Universitets segl

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Nedenfor kan du søge efter publikationer udgivet af eller redigeret af forskere på Institut for Kommunikation og Kultur.

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Bothma, T. & Tarp, S. (2014). Why relevance theory is relevant for lexicography. Lexicographica: International Annual for Lexicography / Revue Internationale de Lexicographie / Internationales Jahrbuch für Lexikographie, 30(1), 350-378. https://doi.org/10.1515/lexi-2014-0013
Kjeldgaard-Christiansen, J. (2017). Why Publish, and Why Publish in Leviathan: Interdisciplinary Journal in English? Leviathan: Interdisciplinary Journal in English, (1), 1-4. https://doi.org/10.7146/lev.v0i1.96776
Wilson, A. (2014). Why Process is Extrinsic to the Digital Domain. https://www.academia.edu/11496288/Why_Process_is_Extrinsic_to_the_Digital_Domain
Khair, T. (2017). Why Literature is the Answer to Fundamentalism. The Hindu.
Khair, T. (2019). Why literature is the answer to extremism: foreword. I B. Majoul (red.), Terrorism in literature: examining a global phenomenon (s. xi-xii). Cambridge Scholars Press.
Engberg, J. (2024). Why languages (as input for knowledge construction) are central objects in comparative law. I J. Husa (red.), A Research Agenda for Comparative Law (s. 157-176). Edward Elgar Publishing. https://doi.org/10.4337/9781035317509.00013
Hejná, M. (2018). Why I work in the field of Language Variation and Change. Leviathan: Interdisciplinary Journal in English, 2, 1-12. https://tidsskrift.dk/lev/article/download/104686/153600/
Hejná, M., Kjeldgaard-Christiansen, J. & Eaton, M. (2024). Why interdisciplinary approaches to voice studies? I Proceedings of the 2nd International Conference on the Foundations of Speech: Proceedings of the 2023 Aarhus International Conference on Voice Studies (s. 1-5). Sciendo (DeGruyter). https://doi.org/10.2478/9788366675513-001
Berthelsen, U. D. (Accepteret/In press). Why Humans Dream of Electric Sheep: Philip K. Dick on the Human Condition. I U. D. Berthelsen, M. R. Thomsen & M. Tannert (red.), Beyond the Turing Test: What science fiction can teach us about artificial intelligence Routledge - Taylor & Francis.
Clasen, M. (2017). Why Horror Seduces. Oxford University Press.
Clasen, M. (2018, jan. 7). Why Horror Is So Popular: And may even be good for us. http://sciencenordic.com/why-horror-so-popular
Frich Pedersen, J., Biskjaer, M. M. & Dalsgaard, P. (2018). Why HCI and Creativity Research Must Collaborate to Develop New Creativity Support Tools. I Proceedings of American Psychological Association’s conference on Technology, Mind & Society Artikel 10 Association for Computing Machinery. https://doi.org/10.1145/3183654.3183678
Khair, T. (2023, sep.). Why has the Rule of Law become so Fragile? 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. I A. M. Nyvad (red.), A Sound Approach to Language Matters: In Honour of Ocke-Schwen Bohn (s. 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, Artikel E297. https://doi.org/10.1017/S0140525X21002259
Hansen, L. E. & Degn, H.-P. (2021). Why do people attend cultural events? Towards a typology of motivations. Abstract fra NCCPR 2021: Nordic Conference on Cultural Policy Research, Borås, Sverige.
Jensen, P. M. (2016). Why Does the World Love Danish Television Drama?. Abstract fra SMID Biennial Meeting, Middelfart, Danmark.
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. Afhandling præsenteret på IAMCR 2015, Montreal, Canada.
Nielsen, J. I. (2018). Why Danish TV Series Travel. Poster-session præsenteret på Transnational Television Drama, Aarhus, Danmark.
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. I J. Sheehan & D. Ó Corráin (red.), The Viking Age. Ireland and the West.: Proceedings of the Fifteenth Viking Congress (s. 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 fra International Federation of Theatre Research World Congress 2022 , Reykjavík, Island.
Borkfelt, S. (2022). Who Slaughters and Who Consumes? On Butcher(ing) Identities. I Reading Slaughter: Abattoir Fictions, Space, and Empathy in Late Modernity (s. 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 fra Social AI, Irvine, CA, USA.
Bechmann, A. & Bowker, G. C. (2017). Whose Ontologies, at what Cost? AI and Invisibility in Social Media Arenas. Abstract fra Propaganda and Media Manipulation, New York, USA.
Sparre, K. (2017). Whose news is it anyway? A study of native advertising practices in Danish journalistic media. Abstract fra Future of Journalism 2017, Cardiff, Storbritannien.
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. I B. Ajana, J. Braga & S. Guidi (red.), The Quantification of Bodies in Health: Multidisciplinary Perspectives (s. 117-132). Emerald Group Publishing.
Matzen, P. L. (2024). Whose Bildung? Institutional self-critique in art exhibitions on colonial history. [Ph.d.-afhandling, Aarhus Universitet].
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 fra 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 fra 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. I 2024 IEEE International Conference on Development and Learning (ICDL) (s. 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.
Ringgaard, R. L. (2026). “Who said ‘The Emperor’s New Clothes’?”: Crystallizing a public accusation across media platforms. Res Rhetorica, 13(1), 94-114. https://doi.org/10.29107/rr2026.1.5
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 fra SCSMI 2019, Hamburg, Tyskland.
Bengesser, C. H. & Øfsti, M. (2025). Who produces (what) for whom? : Identifying the European streaming industry. Afhandling præsenteret på NordMedia 2025, Odense.
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
Freudendal, J. (2024). Who knows the audience best: Scandinavian media institutions’ production and use of audience data. Abstract fra ECREA 2024, Ljubljana, Slovenien.
Uldbjerg, S. (2026). Who is the victim? I C. Sand-Iversen (red.), NEW SKIN (s. 121-125). Really Simple Syndication Press.
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. Afhandling præsenteret på Speechwriting Seminar , Aarhus, Danmark.
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
Stephan, M. (2010). Whodunit? And how do we know? (or do we?): The structure of the epistemological investigation in Detective Fiction. Afhandling præsenteret på Emotion, Media and Crime Conference, Aarhus, Danmark.
Refskou, A. S. (2021). Who Do You Think You Are? (BBC). Billeder, Video- og Lydoptagelser (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

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