摘要
As scholars have begun the digitization of the word＇s cultural materials, the understanding of what is to be digitized and how that digitization occurs remains narrowly imagined, with a distinct bias toward North American and European notions of culture, value and ownership. Humanists are well aware that cultural knowledge, aesthetic value and copyright/ownership are not monolithic, yet digital humanities work often expects the replication of narrow ideas of such. Drawing on the growing body of scholarship that situates the digital humanities in a broad global context, this paper points to areas of tension within the field and posits ways that digital humanities practitioners might resist such moves to homogenize the field. Working within the framework of border studies, the paper considers how working across national barriers might further digital humanities work. Finally, ideas of ownership and/or copyright are unique to country of origin and, as such, deserve careful attention. While open access is appealing in many digital humanities pro- jects, it is not always appropriate, as work with indigenous cultural artifacts has revealed.
