scholarly journals Social Pedagogy as a Source of Social Prophylactics and Social Rehabilation Theory and Practice

2021 ◽  
Vol 7 ◽  
pp. 139-157
Author(s):  
Justyna Kusztal
Keyword(s):  
20Th Century ◽  
Turning Point ◽  
Developmental Stages ◽  
Social Groups ◽  
Theory And Practice ◽  
Social Maladjustment ◽  
Social Pedagogy ◽  
Social Rehabilitation

The article presents an analysis and interpretation of the sources and other materials gathered in search of answers to the questions about social pedagogy as the source of contemporary social rehabilitation thinking and practice. Social pedagogy and social rehabilitation pedagogy share some of their history, both rooted in the thinking and writings of the first Polish pedagogues (19th/20th century), and also in the institutional measures designed to serve people and social groups, especially children threatened by poverty, marginalization and social maladjustment. The article discusses the developmental stages of Polish social pedagogy, with the turning point being 1945, as well as their implications for the evolution of social rehabilitation ideas and practice, from their origin at the turn of the 19th and 20th centuries to the present day.

scholarly journals Zakorzenienia pedagogiki resocjalizacyjnej

2021 ◽  
Vol 1 (1) ◽  
pp. 137-146
Author(s):  
Wiesław Ambrozik
Keyword(s):  
Theory And Practice ◽  
Social Pedagogy ◽  
Social Rehabilitation ◽  
The Subject

The article deals with the issue of rooting social rehabilitation in such disciplines as special pedagogy and social pedagogy. Affiliation of the analyzed field also affects the today’s shape of the theory and practice of resocialization, causing a number of disputes about the subject.

Main Forms of Propagandistic Activities of the Right-Wing Parties (1904–1914)

2020 ◽  
Vol 102 ◽  
pp. 656-676
Author(s):  
Igor V. Omeliyanchuk
Keyword(s):  
20Th Century ◽  
Social Groups ◽  
Right Wing ◽  
Periodical Press ◽  
Political Movement ◽  
The People ◽  
The Social ◽  
The Right ◽  
In The Beginning ◽  
The 19Th Century

The article examines the main forms and methods of agitation and propagandistic activities of monarchic parties in Russia in the beginning of the 20th century. Among them the author singles out such ones as periodical press, publication of books, brochures and flyers, organization of manifestations, religious processions, public prayers and funeral services, sending deputations to the monarch, organization of public lectures and readings for the people, as well as various philanthropic events. Using various forms of propagandistic activities the monarchists aspired to embrace all social groups and classes of the population in order to organize all-class and all-estate political movement in support of the autocracy. While they gained certain success in promoting their ideology, the Rights, nevertheless, lost to their adversaries from the radical opposition camp, as the monarchists constrained by their conservative ideology, could not promise immediate social and political changes to the population, and that fact was excessively used by their opponents. Moreover, the ideological paradigm of the Right camp expressed in the “Orthodoxy, Autocracy, Nationality” formula no longer agreed with the social and economic realities of Russia due to modernization processes that were underway in the country from the middle of the 19th century.

scholarly journals Svetlana Slapšak’s Feminist Essay: A Polygraph of Contemporary Culture

2019 ◽  
pp. 93-111
Author(s):  
Magdalena Koch
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Cultural Anthropology ◽  
Theory And Practice ◽  
Contemporary Culture ◽  
New Strategy ◽  
Culture Of Fear

The article discusses the problem of the theory and practice of contemporary Serbian feminist essay. The text indicates how – at the turn of the 21st century – the essay participated in the reading of the nationalist culture of fear during the breakup of Yugoslavia, how it became the tool for creating an analytical and methodological platform and a means of quick anthropological and cultural diagnoses, as well as a form of transfer of social or philosophical notions. This new strategy of the essay was illustrated through the examples of books by Svetlana Slapšak, a leading figure of the (sub)genre in the Serbian culture, a professor of cultural anthropology, classical philologist, and feminist critic: Mala crna haljina. Eseji o antropologiji i feminizmu (1993/2007, Little Black Dress. Essays on Anthropology and Feminism), Ženske ikone XX veka (2001, Female Icons of the 20th Century), Ženske ikone antičkog sveta (2006, Female Icons of the Antiquity), Antička miturgija: žene (2013, Antique Mythurgy: Women). It becomes clear that one of the trends of the contemporary essay in the Serbian and post-Yugoslav cultures is the application of the genre in the spirit of modern engaged humanities and textual intervention.

Ashantis in Warsaw: Notions of “Blackness” in Polish Society at the Turn of the 20th Century – A Preparatory Contribution to Polish Colonial History

2021 ◽  
Author(s):  
Agata Łuksza
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Cultural Practices ◽  
Social Groups ◽  
Human Condition ◽  
Colonial History ◽  
Polish Society ◽  
History Of ◽  
The 19Th Century

The author recognizes Włodzimierz Perzyński’s comedy Aszantka as a meaningful remnant of „blackness” in the history of Polish theatre, and therefore she uses it as a point of entrance into a broader inquiry about the entanglement of Polish society into European colonial project, and the ideas, values, and cultural practices it entailed. That is why in the article the author attempts to reconstruct possible concepts and images of “blackness” which Warsaw dwellers might have shared at the end of the 19th century by analysing the reception of the performances of alleged representatives of Ashanti people in the Warsaw circus in 1888. From “Ashanti” performances on, the popularity of this type of entertainment – so called ethnographic shows or human zoos – grew in the colonized capital of the Kingdom of Poland. The author points to “savageness” and “nakedness” as constitutive traits of “blackness” which she understands as a specific human condition, experienced both by overseas colonized societies as well as subaltern social groups (to which “Aszantka” from Perzyński’s comedy belonged) in European societies.

Imitation: Simple, Stretto, Canonical (On the Difficulties of Absolute Differentiation in the Polyphony of Strict Style)

2020 ◽  
pp. 26-39
Author(s):  
Т.В. Франтова
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Theory And Practice ◽  
Text Line ◽  
Theoretical Literature ◽  
The One ◽  
Different Sources ◽  
Stable Connection ◽  
Polyphonic Music ◽  
Musical Forms

Статья посвящена проблемам изучения теории и практики имитационной техники в полифонии строгого письма. Три типа имитации — простая, стреттная, каноническая — постоянно фигурируют в современной музыкально-теоретической литературе. Трактовки сути простой и канонической имитации в разных источниках совпадают, хотя формулировки в деталях разнятся. При этом значительны расхождения в понимании стретты. По традиции, заложенной учениями XVIII века, в теоретическом музыкознании стретту рассматривают в контексте формы фуги. Одновременно ряд исследователей считает возможным использовать понятие стретты по отношению к имитационному многоголосию Ренессанса. При этом термин употребляется в разных значениях. Материал исследования — начальные имитационные секции четырех-шестиголосных мотетов Палестрины без c. f. Тематическая организация рассматривается с учетом тексто-музыкальной формы мотета, в соответствии с которой функцию темы выполняет тексто-музыкальная строка, построенная на относительно стабильном соединении текстовой строки и развернутого мелодического soggetto. Ее неоднократные повторения позволяют обнаружить сходства и различия канонов и стретт в строгостильном многоголосии. The article is devoted to the problems of studying the theory and practice of imitation technique in polyphonic music of strict writing. Three types of imitation — simple, stretto and canonical — appear as relevant in modern musical theoretical literature. An analysis of the existing concepts showed that the interpretations of the essence of simple and canonical imitation in different sources coincide, although the formulations in details, as a rule, differ. Against this background, significant differences in the understanding of stretto (narrow, tight) imitation are especially noticeable. Many authors, foreign and domestic, starting from the teachings of the 18th century, consider the stretto in the context of the fugue form. At the same time, a number of researchers of the 20th century (domestic and foreign) have formed a different position. They believe that it is possible to expand the musical and historical boundaries of the use of the concept of stretto, its use in relation to the imitative polyphony of the Renaissance. The authors talk about the stretto in at least three different cases: the effect of a compressed temporary introduction of imitation voices (S. Skrebkov, T. Dubravskaya), narrow introduction of voices with their subsequent non-imitation promotion (N. Simakova), the tight entry of the rispost before the end of the theme in the propost, which does not fit into the canon (K. Eppessen, S. Skrebkov). The analysis of the musical material showed that the broadly understood stretto (the conciseness of the timing of the introduction of voices) is very typical of the polyphony of strict writing and manifests itself in many and different methods. The musical material of the study was the one-theme initial imitation sections of the four-six-part Palestrina motets, the compositional foundation of which lacks cantus firmus. The thematic organization was considered taking into account the genre of the motet, which belongs to the class of text-musical forms. In accordance with the nature of the genre, the function of the theme in the imitation section is performed by a text-musical line built on a relatively stable connection of a text line and an expanded melodic soggetto.

David Bergelson

2019 ◽  
Author(s):  
Harriet Lisa Murav
Keyword(s):  
Short Stories ◽  
20Th Century ◽  
Turning Point ◽  
Literary Work ◽  
Soviet Period ◽  
Overall Evaluation

David Bergelson (b. 1884–d. 1952) was the most important Yiddish modernist prose writer of the 20th century. His innovations in style, character, and especially atmospherics, or “mood,” earned him immediate praise from literary critics, who saw him as the first Yiddish modernist. The fates and feelings of his characters, the settings, and his elliptical, decentered style reflect a unified artistic emotion, the highlight of his fiction. Bergelson wrote short stories, novels, essays, plays, and articles for newspapers and journals, including Eygns, Milgroym, and In shpan, which he founded and edited. Bergelson’s oeuvre can be divided into his Kiev period (until 1919), during which he wrote the novels The End of Everything and Departure, his self-imposed exile in Berlin (1921–1933), and the Soviet period (1934–1952). The Berlin exile was a time of great creativity, as well as a political turning point. Bergelson rather ambiguously proclaimed his turn to communism in 1926. This ideological turn, and the tragedy of his death (he was one of the prominent Soviet Yiddish writers killed on Stalin’s orders on August 12, 1952), has until recently overshadowed engagement with his literary work. Reappraisals of his literary creativity as a whole, and especially after his self-proclaimed turn to communism after 1926, are changing the overall evaluation.

A Turning Point in the History of Bessarabia: Winter 1917–1918

1987 ◽  
Vol 15 (2) ◽  
pp. 194-214
Author(s):  
Michael Bruchis
Keyword(s):  
Soviet Union ◽  
Turning Point ◽  
Theory And Practice ◽  
Peaceful Coexistence ◽  
Political Leaders ◽  
The Soviet Union ◽  
Ideological Struggle ◽  
History Of ◽  
Ruling Party

Soviet scholars basing themselves on the assertion in the Program of the CPSU that “peaceful coexistence of states with different social regimes does not means a diminution of the ideological struggle,” severely criticize those Western authors who in their works throw light upon the shadowy aspects of theory and practice of the ruling party in the USSR. Utterances of Western scholars which express doubt about the veracity of data contained in documents of the CPSU and the accuracy of theses and positions based on these data are rejected as totally unfounded inventions. Scholars of countries with the same social regime as in the Soviet Union are subject to no less severe attacks if they contest in their works, directly or indirectly, the theses and positions worked out by Soviet authors. While the Western scholars concerned are termed bourgeois falsifiers, the unfavored scholars (and political leaders of the socialist countries) are categorised as revisionists, a no less pejorative term in Soviet parlance: thus, for example, “the powers of international imperialism,… leaning on services of revisionists of various strains”; or “to expose contemporary bourgeois and other falsifiers of history.”

INTOXICANTS AND SOCIETY IN EARLY MODERN ENGLAND

2011 ◽  
Vol 54 (3) ◽  
pp. 631-657 ◽  
Author(s):  
PHIL WITHINGTON
Keyword(s):  
Social Change ◽  
Social Identity ◽  
Early Modern ◽  
Social Groups ◽  
Early Modern England ◽  
Theory And Practice ◽  
Cultural Contexts ◽  
Civilizing Process ◽  
The Poor

ABSTRACTThe article considers the rapid increase in the English market for alcohol and tobacco in the 1620s and the set of concurrent influences shaping their consumption. It suggests that intoxicants were not merely a source of solace for ‘the poor’ or the lubricant of traditional community, as historians often imply. Rather, the growth in the market for beer, wine, and tobacco was driven by those affluent social groups regarded as the legitimate governors of the English commonwealth. For men of a certain disposition and means, the consumption of intoxicants became a legitimate – indeed valorized and artful – aspect of their social identity: an identity encapsulated by the Renaissance concept of ‘wit’. These new styles of drinking were also implicated in the proliferation (in theory and practice) of ‘societies’ and ‘companies’, by which contemporaries meant voluntary and purposeful association. These arguments are made by unpacking the economic, social, and cultural contexts informing the humorous dialogue Wine, beere, ale and tobacco. Contending for superiority. What follows demonstrates that the ostensibly frivolous subject of male drinking casts new light on the nature of early modern social change, in particular the nature of the ‘civilizing process’.

A View from a Distance

2003 ◽  
Vol 21 (2) ◽  
pp. 367-376 ◽  
Author(s):  
Piotr Górecki
Keyword(s):  
Middle Ages ◽  
Human Activity ◽  
Legal History ◽  
Turning Point ◽  
Social Groups ◽  
The Other ◽  
Routine Activity ◽  
Quarter Century ◽  
The Past ◽  
Wide Range

Susan Reynolds's article is a culmination and a turning point. It builds on several approaches to medieval law and culture, of which two strike me as especially important. One is a study of legal history as a domain of human activity, especially habitual or routine activity, pursued by a wide range of social groups. The other is a search for the meaning and the criteria of the enormous transition during the central Middle Ages, which Christopher Dawson at the dawn of this subject, and Robert Bartlett in its currently definitive moment, have identified as “the making of Europe.” The first subject exists above all thanks to the work of Reynolds herself, while the second is an outcome of a number of quite distinct scholarly trajectories, spanning several generations. Apart from some suggestive and implicit links, those two subjects have, over the past quarter century, been pursued separately. Reynolds's article brings them together.

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