A. W. Schlegels Korrespondenz – kollaborativ!

2021 ◽  
Vol 35 (1) ◽  
pp. 142-167
Author(s):  
Jochen Strobel
Keyword(s):  
Digital Media ◽  
Critical Edition ◽  
Theory And Practice ◽  
Scholarly Edition ◽  
Digital Edition ◽  
Theory Of Practice ◽  
Project Environment

Abstract The paper appeals for a re-examination of the digital scholarly edition of letters informed by a ‘theory of practice’ appropriate to a project environment. The genre letter seen as a means of communication and the use of digital media tools are emphasised, the use of which in no way precludes keeping with established scholarly critical edition standards. The ‘behind the scenes’ of the project The Digital Edition of August Wilhelm Schlegel’s Correspondence is discussed, as are, in a more universal sense, Bourdieu’s critical ideas of theory and practice as applied to digital letter edition projects and their interests.

scholarly journals New Digital Tools for a New Critical Edition of the Hebrew Bible

Open Theology ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. 80-94 ◽  
Author(s):  
Sarah Yardney ◽  
Sandra R. Schloen ◽  
Miller Prosser
Keyword(s):  
Hebrew Bible ◽  
Critical Edition ◽  
Digital Tools ◽  
Digital Analysis ◽  
Biblical Text ◽  
University Of Chicago ◽  
Critical Editions ◽  
Digital Edition ◽  
The University

Abstract This article describes the digital edition of the Hebrew Bible: A Critical Edition (HBCE), which is being produced as part of a project called Critical Editions for Digital Analysis and Research (CEDAR) at the University of Chicago. We first discuss the goals of the HBCE and its requirements for a digital edition. We then turn to the CEDAR project and the advances it offers, both theoretical and technological. Finally, we present an illustration of how a reader might use the digital HBCE to interact with the biblical text in innovative ways.

Becoming Problem Solvers: The Case of Three Future Administrators

1998 ◽  
Vol 8 (3) ◽  
pp. 303-331 ◽  
Author(s):  
Janet H. Chrispeels ◽  
Kathleen J. Martin
Keyword(s):  
Problem Solving ◽  
Implicit Theories ◽  
Problem Based Learning ◽  
Group Processes ◽  
Organizational Factors ◽  
Theory And Practice ◽  
Collaborative Problem Solving ◽  
Problem Solving Skills ◽  
Theory Of Practice ◽  
Problem Solvers

This study examines how students in an administrative credential program developed collaborative problem-solving competence through their participation in two problem-based learning classes. Data collected at three times over the course of a year (videotapes, student reflective papers, faculty and student evaluations, final group projects, and interviews) were analyzed to assess how students develop problem-solving skills within a group. The data indicate that these classes allowed students to acquire knowledge and skills in group processes and problem-solving as well as course content. Follow-up studies of three students who served as telling cases, and who are the focus of this study, suggest students could see the link between theory and practice, and between the classes and their jobs as administrators. Although the students entered the classes with differing levels of problem-solving ability, all three perceived that the experiences in the problem-based learning classes enhanced their skills. The data also suggest that more active guidance by the faculty could enhance students’ reflective skills and their ability to identify implicit theories of practice. Thus, a metacognitive framework for acquiring and improving problem-solving skills in collaborative groups was developed to enable students to explore personal and organizational factors that shape their theory of practice.

scholarly journals The role of architecture in an engaging and meaningful experience of the physical exhibition

2020 ◽  
Vol 5 (1) ◽  
pp. 36-53
Author(s):  
Bárbara Dos Santos Coutinho ◽  
Ana Cristina Dos Santos Tostões
Keyword(s):  
Digital Media ◽  
Aesthetic Experience ◽  
Theory And Practice ◽  
Spiritual Intelligence ◽  
Work Of Art ◽  
The Public ◽  
Exhibition Space ◽  
Digital World ◽  
The Arts

While recognising the part that digital media play in bringing about greater accessibility to artworks display and ensuring that they are more visible, this paper argues that the physical exhibition continues to be the primary place for the public to encounter the arts, as it can offer an engaging and meaningful aesthetic experience through which people can transcend their own existence. As such, it is essential to rethink now, in the scope of an increasing digital world, the exhibition in conceptual and methodological terms. For this purpose, the exhibition space must be considered as content rather than container and the exhibition as a work, often with the intentionality of a “total work of art”, rather than just a vehicle for exhibiting artworks and objects. Having the former purpose in mind, this paper proposes a re-reading of the exhibition designs of Frederick Kiesler (1890–1965), Franco Albini (1905–1977) and Lina Bo Bardi (1914–1992) in order to evaluate how their theory and practice can provide useful lessons for our contemporary thinking. The three architects, assuming the role of curators, use only the specific language of an exhibition and remix conventional modes of communication and architectural vocabulary, exploring the natural and artificial light, materials, layouts, surfaces and geometries in innovative ways. They considered the exhibition to be a work of art, overcoming the container/content dichotomy and trigging an intersubjective and self-reflective participation. Kiesler, Albini and Bo Bardi may all be considered visionaries of our time, as they offer a landscape that stimulates our curiosity through a multiplicity of information arranged in a multisensory way, allowing each visitor to discover associations between himself and his surroundings. None of them simply created an opportunity for distraction or entertainment. This perspective is all the more pertinent nowadays, as the processes of digitalising information and virtualising the real may well lead to the dematerialization of the physical experience of art. By drawing upon these historical examples, this paper seeks to contribute to current study on how an exhibition can stimulate the cognitive, emotional and spiritual intelligence of each visitor and clarify the importance of this effect in 21st century museums and society at large.

scholarly journals REVIEW: Valiant on digital media, lacking on indigeneity

2016 ◽  
Vol 22 (2) ◽  
pp. 209
Author(s):  
James Hollings
Keyword(s):  
Public Relations ◽  
Digital Media ◽  
Media Studies ◽  
Theory And Practice ◽  
Media Communication ◽  
Journalism Studies ◽  
Oxford University ◽  
New Approaches ◽  
Oxford University Press

Media and Journalism: New Approaches to Theory and Practice [3rd ed.], edited by Jason Bainbridge, Nicola Goc and Liz Tynan. Melbourne: Oxford University Press., 2015. 504 pp. ISBN 9-780-1955-8801-9.THIS IS an updated version of a well-established media text by three prominent Australian media academics. Like the first edition, it is aimed at beginner media studies students, providing them with a basic introduction to media, communication, journalism studies and public relations concepts, all in a friendly, informal tone.

The Oxford Handbook of Rhetorical Studies

2014 ◽  
Keyword(s):  
Critical Race Theory ◽  
Digital Media ◽  
Social Practice ◽  
Social Contexts ◽  
Rhetorical Theory ◽  
Theory And Practice ◽  
Academic Disciplines ◽  
Global Media ◽  
Rhetorical Studies ◽  
History Of

One of the most remarkable trends in the humanities and social sciences in recent decades has been the resurgence of interest in the history, theory, and practice of rhetoric: in an age of global media networks and viral communication, rhetoric is once again “contagious” and “communicable” (Friedrich Nietzsche). Featuring 60 commissioned chapters by eminent rhetoric scholars from 12 countries, The Oxford Handbook of Rhetorical Studies offers students and teachers an engaging but sophisticated one-volume introduction to the multidisciplinary field of rhetorical studies. The Handbook traces the history of Western rhetoric from ancient Greece and Rome to the present and surveys the role of rhetoric in more than 30 academic disciplines and fields of social practice. This combination of historical and topical approaches allows readers to chart the metamorphoses of rhetoric over the centuries while mapping the connections between rhetoric and law, politics, science, education, literature, feminism, poetry, composition, critical race theory, philosophy, drama, criticism, deconstruction, digital media, art, semiotics, architecture, and other fields. In addition to offering an accessible and comprehensive introduction to rhetoric in the European and North American context, the Handbook includes an introduction with summaries of all 60 chapters, a timeline of major works of rhetorical theory, translations of all passages in Greek and Latin, and a glossary of more than 300 rhetorical terms. Taken together, the chapters in this volume demonstrate that rhetoric is not merely an art of stylish communication but a pragmatic, inventive, and critical art that operates in myriad social contexts and academic disciplines.

In the event of a variable text

2017 ◽  
Vol 23 (1) ◽  
pp. 98-114
Author(s):  
JR Carpenter
Keyword(s):  
Digital Media ◽  
Spoken Language ◽  
Spoken Word ◽  
Theory And Practice ◽  
Performance Theory ◽  
Digital Writing ◽  
Computer Screen ◽  
And Performance ◽  
Printed Word ◽  
Entire Apparatus

Walter J Ong argues: ‘The spoken word is always an event, a movement in time, completely lacking in the thing-like repose of the written or printed word’. Digital writing has given rise to a new regime of enunciation in which written words refuse repose. This essay argues that although spoken, written and printed words operate within radically different temporal planes, spoken words also have thing-like properties and written and printed words also move through time. Digital writing has given rise to a new regime of signification unforeseen by Ong in which written words refuse repose. Jay David Bolter argues that digital writing ‘challenges the logocentric notion that writing should be merely the servant of spoken language…The writer and reader can create and examine structures on the computer screen that have no easy equivalent in speech’. N Katherine Hayles argues that, in digital media, the text ‘becomes a process, an event brought into existence when the program runs…The [text] is “eventilized,” made more an event and less a discrete, self-contained object with clear boundaries in space and time’. Jean-Jacques Lecercle argues that language is a constructed system, constantly subject to change…‘We therefore need to conceive of language not as a stable, arrested system, but as a system of variations’. This essay draws upon a diverse corpus of literary, media and performance theory and practice to establish a critical framework for examining the performance of variable texts throughout the entire apparatus of hardware, software, networks, bodies and spaces within and through which they operate and propagate. This framework is applied to a number of examples of digital writing which incorporates variability, instability, transformation and change into the process of composition, resulting in texts which are both physical and digital, confusing and confound boundaries between speaking, writing and reading.

Critical edition with or without notes for the performer

2012 ◽  
Vol 53 (1-3) ◽  
pp. 113-140
Author(s):  
László Somfai
Keyword(s):  
Critical Edition ◽  
Basic Information ◽  
Scholarly Edition ◽  
Contradictory Information ◽  
The 1950S

The concept of the historisch-kritische Gesamtausgabe series of the 1950s (the New Bach, Mozart, Haydn, etc., editions) is rightly questioned today. Not least because for the sake of making an impeccable text of a scholarly edition a certain kind of selfdefensive attitude of editors had priority over the interest of the intelligent user: the text should be eternally valid, the editor would not take the responsibility to answer justifiable questions of the performer. In case of 20th-century composers the source chain of a work from sketches to the printed and revised version(s) is not only much better documented than in the music of Baroque and Classical masters, but some composers (Schoenberg, etc.) explained their special use of performance instructions. In this respect Bartók is an intriguing and well-studied case, however, performers are often mislead by contradictory information or supposed authentic traditions. The forthcoming complete critical edition will offer two texts in each volume — not within the Critical Commentaries but before the score On Bartók’s Notation (partly standard, partly genre-oriented basic information), and Editorial Notes for the Performer (on each composition in the volume).

Fostering Sociopolitical Consciousness With Minoritized Youth: Insights From Community-Based Arts Programs

2017 ◽  
Vol 41 (1) ◽  
pp. 358-380 ◽  
Author(s):  
Bic Ngo ◽  
Cynthia Lewis ◽  
Betsy Maloney Leaf
Keyword(s):  
Digital Media ◽  
Social Action ◽  
Teaching And Learning ◽  
Theory And Practice ◽  
Three Dimensions ◽  
Cultural Critique ◽  
Community Based ◽  
Theatre Arts ◽  
Sociopolitical Consciousness ◽  
Arts Programs

In this chapter, we review the literature on community-based arts programs serving minoritized youth to identify the conditions and practices for fostering sociopolitical consciousness. Community-based arts programs have the capacity to promote teaching and learning practices in ways that engage youth in the use of academic skills to pursue inquiry, cultural critique, and social action. In this review, we pay particular attention to literary arts, theatre arts, and digital media arts to identify three dimensions of sociopolitical consciousness: identification, mobilization, and cosmopolitanism. By advancing the principle of sociopolitical consciousness within the theory and practice of critical and cultural relevant pedagogies, our review provides ways toward mitigating social and educational disparities.

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