From the 19th – 25th October, we will be celebrating Open Access week! The theme for this year is “Open with Purpose: Taking Action to Build Structural Equity and Inclusion”. Building on the previous two years, 2020’s theme seeks to investigate equity in open research - interrogating what is open to whom and trying to address inequalities in the system. On Wednesday 21st October, Holly Limbert, Repository and Open Access Librarian, will be delivering a workshop, 'Gender Equality in Open Research' which is open to all and will be of particular interest to women in research. The session aims to cover the benefits of Open Access, best practice for submissions to UDORA, and becoming more visible as a researcher by increasing your online profile. The session will also present itself as an opportunity to make connections and act as a space for sharing knowledge. Further information can be found on the event listing here where you can also sign up. The session will be delivered online.


Are you a PhD student or Postdoctoral Researcher? If so, we would love you to share your experiences about how Institutional Repositories have aided you in your research or your experience of submitting your thesis to UDORA and the benefits that this has had for you and getting your research out there. This would mean recording a short voice clip, 2-3 minutes long via a recording device or mobile phone. Please get in touch with Holly Limbert if you are interested as it would be fantastic to have you involved!’


For the most recent Open Access research publications on Covid-19, please follow this link to DOAJ (the Directory of Open Access Journals) where you will be redirected to a number of free to access literature.


Access to Taylor and Francis microsite for free Covid-19 literature is available here. 


Welcome to UDORA, the University of Derby Online Research Archive.

UDORA is the institutional repository of research produced by staff at the University of Derby, and an archive of our completed doctoral theses.

If you are a member of staff ready to submit your research, please see our Quick Guide to Getting Started.

We welcome any feedback. Please contact


Select a community to browse its collections.

  • Keynote: Grant Kester in conversation with Rhiannon Jones.

    Jones, Rhiannon; Nottingham Trent University (InDialogue, 2016-12-01)
    Grant Kester was invited by Rhiannon Jones to speak at InDialogue to provide a international context and framework for InDialogue delegates on the use of dialogue in both practice and research. The conversation was carefully curated and designed clearly locate the national and international context for dialogic practice. In doing so, the keynote became a conversation, enaging with contemporary references as well as those set out in texts written by Grant Kester, such as Conversation Pieces (2004) and The one and the Many (2011). The dialogue that occurred between Rhiannon and Grant set out the research terms of reference through which InDIalogue engages with critically and practically. It also embedded InDialogue as ' the only platform I (Grant Kester), know of that provides a space for substantive international exchange on issues associated with dialogue, across the boundaries of visual art, theatre and performance studies. It provides a rare opportunity for researchers and artists in all of these disciplines to learn from each other and does a great deal to advance the critical conversation in this burgeoning field. As dialogue and participation become ever more central methods across the arts and humanities events like InDialogue will only become more important. (Grant Kester, 2016).
  • Parallel dialogues

    Jones, Rhiannon; Cologni, Elena; University of Derby; University of Lincoln (InDialogue, 2016-08)
    This paper was presented by Elena Cologni and Rhiannon Jones and was delivered at Nottingham Contemporary for InDialogue Symposium 2016. The paper set out to provide some provocations found through their shared, or parallel dialogues. They described how their practices share a commonality, they both work within the contextual frame named ‘the dialogic’ or, as both having ‘dialogic practices’. These overlaps provided a framework from which the paper emerged dialogically, through conversation. Their individual approaches and practices utilise a performative and experiential approach, the orchestration of space, and the dialogic architectures of site and body. The paper provided a series of provocations - such as how is dialogue used in our practice and how do you define conversation? The paper resulted in a series of discussions, sharing of theoretical frameworks that both presenters use in their research to facilitate practice. The paper set out the context and territory for each of their 'parallel' and dialogic practices for other researchers to engage with the discourse. Parallel Dialogues was the result of a series of conversations between Rhiannon Jones and Elena Cologni which were then turned into a research framework for the paper, The paper became an example of a live process of practice as research through its iterative and reactive series of provocations and open ended dialogue in order to use the paper as both a conversation starter and as part of testing a new methodology for dialogic provocations as practice as research. The working paper for the artists was also a key text for them to discuss their practice research with one another, and with the InDialogue delegates (other artists and researchers) and collectively it sparked a wider discourse about the form and shape of papers, the performativity of papers and its relationship to dialogue.
  • A sociolinguistic perspective on the (quasi-)modals of obligation and necessity in Australian English

    Penry Williams, Cara; Korhonen, Minna; University of Derby (CPW); La Trobe University (Victoria, Australia) (CPW); Macquarie University (New South W,ales Australia) (MK) (John Benjamins, 2020-11)
    This article examines the distribution and sociolinguistic patterning of (quasi-)modals which express strong obligation/necessity, namely must, have to, have got to, got to and need to, in Australian English. Variationist studies in other varieties of English have had contrasting findings in terms of distributions of root forms, as well as their conditioning by social and linguistic factors. The corpus analysis suggests real-time increased use of need to and decrease in have got to through comparison to earlier findings. The variationist analysis shows quasi-modals have to, have got to and got to as sensitive to speaker age and sex, and a recent increase of have to via apparent time modelling. Linguistic conditioning relating to the type of obligation and subject form is also found. The study contributes to sociolinguistic understanding of this large-scale change in English and the place of Australian English amongst other varieties.
  • Large eddy simulation of the flow past a circular cylinder at super-critical Reynolds numbers

    Ahmadi, Mohammad; Yang, Zhiyin; University of Derby (ASME, 2020-09)
    Turbulent flow past a circular cylinder at super-critical Reynolds numbers is simulated using large eddy simulation in this study. A novel combination of O- and H-grid structures is used to reduce mesh cells and, in turn, the computational cost. To investigate the influence of sub-grid scale (SGS) models on the accuracy of simulations, four different SGS models are applied to simulate the flow. In this study, the effect of mesh resolution near the wall on the accuracy of results is also evaluated by applying different y+ values at the wall. The results show that due to the complexity of the flow around the cylinder particularly at high Reynolds numbers, using very high resolution mesh near the cylinder wall, can not guarantee the accuracy of results and other parameters such as mesh resolutions at the top and bottom shear layers and the wake shortly behind the cylinder should be considered appropriately.
  • Documents, Alternatives #4

    Bartram, Angela; University of Derby (2020-09)
    The on-line curated exhibition ‘Documents, Alternatives #4’, by Angela Bartram, aims to isolate, address, find and utilize appropriate means to translate a diverse range of practice digitally whilst remaining true to its artistic intent. It offers a series of responses through the format of an on-line exhibition of ephemeral artworks, that is designed to self-curate with each user visit. The artworks have undergone physical and conceptual change as they have travelled through each of three gallery situated exhibitions as part of the series already, with this being the fourth. Each iteration is an integral part of a conversation, with the artworks adapting and transforming with each exhibition to form a continuing dialogue. With the three previous gallery-based ‘Document, Alternatives’ exhibitions, this online version sets the agenda for how the ephemeral artwork is re-staged via non-tangible means to produce a document that is both virtually static and physically unfixed. This work is part of the Alternative Document, a large-scale multi-mode project that occupies the complex, yet topical terrain of documentation, acting in response to the antithetical practices of lens-based methods historically used to archive and record ephemeral works. An evaluation and re-shaping of artworks (the performance, installation, projection and participatory practice first exhibited as part of the Alternative Document, Project Space Plus, 2016) will establish how best to communicate and translate ephemera via web-based digital resources. Contributing to the extremely topical conversation in the field of appropriate and different modes of archive, this will lead to a resource that will be available to, and inform new audiences on the complexities and potential of the subject. The project aims to accommodate diversity of approach and access, and to include multiple voices and modes of output, and to this end will research and develop creative ways to establish a user-friendly on-line resource.  The archive for the whole project can also be found on this site, including: #1: Airspace Gallery, Stoke on Trent, 17 November - 16 December 2017 #2: Verge Gallery, Sydney, 18 January – 24 February 2018 #3: BSAD Gallery, Bath Spa, 20 April – 1 May 2018

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