scholarly journals Exploring the unique challenges of presenting English Heritage’s castles to a contemporary audience

X ◽  
2020 ◽  
Author(s):  
Joe Savage ◽  
William Wyeth
Keyword(s):  
Local Communities ◽  
The Self ◽  
Digital Content ◽  
Self Reflection ◽  
Staff Members ◽  
Economic Climate ◽  
The World ◽  
International Visitors ◽  
English Heritage

The seventy-nine castles in the care of English Heritage Trust (EHT) are some of the most visually stunning and historically important in the world. In recent years, EHT has explored new ways of sharing the histories and stories of these properties with local communities and with domestic and international visitors. This paper presents a review of these approaches, outlining the ways in which the Trust has applied different methodologies to castles within certain areas of operation, such as Interpretation; Digital Content; and Conservation. It assesses the self-reflection of EHT staff members from some of the organisation’s operations as to how certain strategies and approaches have met the expectations of both the EHT and its target audiences. It outlines approaches to sharing our passion for these properties which were not heavily reliant on significant monetary investment, for instance examining how to re-interpret castles in the context of a challenging economic climate. It assesses some of the philosophies behind the decisions made as well. These reflections are examined in the context of a new castle interpretation project currently underway, at Warkworth Castle in Northumberland, England. They are presented to our international colleagues with the explicit desire to share our experiences and improve our industry’s approach to the interpretation of humanity’s rich castle heritage.

Epistemic media and critical knowledge about the self: Thinking about algorithms with Habermas

2021 ◽  
pp. 089692052110441
Author(s):  
Eran Fisher
Keyword(s):  
Digital Media ◽  
Historical Perspective ◽  
The Self ◽  
Theory Of Knowledge ◽  
Digital Platforms ◽  
Self Reflection ◽  
Types Of Knowledge ◽  
Critical Knowledge ◽  
The World ◽  
History Of

This article explores the ontology of personal knowledge that algorithms on digital media create by locating it on two axes: historical and theoretical. Digital platforms continue a long history of epistemic media—media forms and practices, which not only communicate knowledge, but also create knowledge. As epistemic media allowed a new way to know the world, they also facilitated a new way of knowing the self. This historical perspective also underscores a key difference of digital platforms from previous epistemic media: their exclusion of self-reflection from the creation of knowledge about the self. To evaluate the ramifications of that omission, I use Habermas’s theory of knowledge, which distinguishes critical knowledge from other types of knowledge, and sees it as corresponding with a human interest in emancipation. Critical knowledge about the self, as exemplified by psychoanalysis, must involve self-reflection. As the self gains critical knowledge, deciphering the conditions under which positivist and hermeneutic knowledges are valid, it is also able to transform them and expand its realm of freedom, or subjectivity. As digital media subverts this process by demoting self-reflection, it also undermines subjectivity.

scholarly journals Remarkable Reframing

2015 ◽  
Vol 2 (2) ◽  
pp. 1-11
Keyword(s):  
The Self ◽  
The Other ◽  
Self Reflection ◽  
Mental Structure ◽  
International Mediation ◽  
The World ◽  
National University ◽  
Mind Set ◽  
The Mind ◽  
Negative Sentiment

This paper arises from a presentation at the International Mediation and Restorative Practice Conference held at the National University of Ireland, Maynooth on 5th September 2014. The topic is the technique known as reframing. To reframe is to bring about a change in someone’s mental perspective by altering their tacit underlying viewpoint to create different meaning. It is an attempt to release the parties from a blame and counter-blame cycle, and to focus on more useful ways of viewing the conflict. It is not about over-looking or evading some negative sentiment - this needs to be included to maintain the context. What reframing does, however, is to introduce new meaning, co-existent with the negative perspective, which shifts the mind-set towards a more constructive future. A ‘frame’ is a cognitive shortcut that people use to make sense of the world. It is a complex mental structure of unquestioned beliefs, values and ideas that is used to simplify our understanding of the world around us and thus to infer meaning. If a part of that frame is changed – for example through self-reflection, education or reframing - then the inferred meaning may also change. When parties are in conflict their frames help them to interpret what has happened, what the intentions of the other party are, and their own role in what has taken place. This is usually positively disposed to the self and negatively disposed to the other. This lens, or frame, provides meaning for the conflict. Reframing upsets this frame and introduces a different, and potentially more helpful way to look at the conflict so that the parties will work on resolution rather than being stuck on set, negative, unproductive or toxic ways of viewing matters, or being defensive and closed-minded.

scholarly journals Myth Actualization as a Way to Build the Self-Reflective Plot of the Film “Ilyich’s Gate”

2019 ◽  
Vol 16 (6) ◽  
pp. 595-605
Author(s):  
Aleksey O. Bezzubikov
Keyword(s):  
Historical Development ◽  
The Self ◽  
Time And Space ◽  
Self Reflection ◽  
The Third ◽  
Cultural Codes ◽  
Fourth Part ◽  
The World ◽  
The Moment

The article provides the analysis of mytho­logical dimension of the film “Ilych’s Gate” (Zastava Ilycha) by M.M. Khutsiev. The author concludes that the text of this film represents self-reflexive structure. Firstly, the plot of the film quite clearly depicts the mythological perception of reality. Secondly, the course of narration reproduces the influence of mytho­logical codes on the perception of the audience. The text of the film contains a description of its own mechanism of influence on the viewer as well as the processes taking place in the minds of the audience at the moment of viewing.The first part informs of the main principles of mytho­logical thinking and the idea of time and space in the myth, referring to the works by C. Lévi-Strauss, R. Barthes, M. Eliade, A. Losev, E. Cassirer and others. Special attention is paid to the role of myth and initiation ritual in the psychological formation of a personality, as, based on the following, this is the theme that forms the basis of the film plot.The second part deals with the methods by which the mythological dimension is manifested in the text of the film.In the third part, the researcher shows how the contrast of secular and sacral becomes the main semantic opposition promoting the motion of the plot.In the fourth part, the author proves that the reflection of reality in the characters’ minds is a referent of the images shown on the screen. The characters’ development lies in the actualization of the sacral and mythological perception of the world. In turn, the cultural codes contained in the text of the film are designed to evoke a kind of response in the minds of the audience — to actualize the same sacred modus of perception in its ideas, the achievement of which is the ultimate goal of the characters. Thus, the inner path of the characters in the film reflects the processes that excite the studied film in the perception of the audience.The relevance of the article lies in the discovery and description of the principle of self-reflection in the structure of the film “Ilych’s Gate”, which allows us to understand at a qualitatively new level its structure and place in the historical development of Russian cinematography.

THE REFLECTION OF OWN ABSENCE IN THE WORLD BY LYRICAL SUBJECTS OF LATE WORKS BY EGOR LETOV

2020 ◽  
pp. 92-101
Author(s):  
Zinaida G. Stankovich ◽  
Keyword(s):  
Well Being ◽  
The Self ◽  
Deceased Person ◽  
Self Reflection ◽  
World Vision ◽  
The World ◽  
Lyrical Subject ◽  
Real Person ◽  
Late Works ◽  
Centripetal Movement

t. The article is dedicated to the late works of Yegor Letov and explores the lyrical subject’s perception of the world in which he himself and people like him will no longer exist. The topic touches on the theme of death which is clearly manifesting itself in all works of the rock poet. It reveals that Letov’s lyrical subject fixes his absence in the world turning to images of nature that remain unchanged, to elements of people’s everyday life that persist without him and to the space of artistic work the contemporary to the poet. In parallel there is the self-reflection of Letov’s lyrical subject as a people’s rock poet who values living life and does not aim for pecuniary well-being. The lyrical subject of Letov when thinking about the life that will continue after the passing of his generation realizes that the world will turn upside down and become uncomfortable and unacceptable for him. The world of a deceased person will separate from the big world and begin a centripetal movement while the reverse of return will no longer be possible. An important motive is the distortion of memory about a real person, which will inevitably occur after an individual leaves the general world. Human himself will not be able to influence his posthumous fate. However shortly before his death Letov comes to a rather optimistic conclusion that he managed to transmit to living humans an undistorted healthy element of his world vision.

scholarly journals Miłosz: Self-Reflection as the Topic of a Poetic Description

2016 ◽  
Vol 38 (8) ◽  
Author(s):  
Barbara Stelmaszczyk
Keyword(s):  
The Self ◽  
The Other ◽  
Strong Sense ◽  
Poetic Language ◽  
Ordinary People ◽  
Self Reflection ◽  
The World ◽  
The Status ◽  
Simultaneous Existence ◽  
Individual Consciousness

Czesław Miłosz’s poetry displays two reverberating topics which may be defined as contradictory existence and world experiences. One of those is the admiration for the beauty of the world and awe consequent upon capturing the simultaneous existence of individual entities (Amazement), whilst the other is the topic of the lack of fulfilment, torment, the feeling of lack of authenticity, blame, and shame (This).Miłosz depicted his “I” (represented by various personae), the split between individual consciousness, a strong sense of individuality, distinct from the commune of ordinary people (a strand salient in the pre-war volume Three Winters), at the same time nurturing a feeling of strong bonds with the society.The poet’s self-reflection holds for both topics, while the autobiographic discourse is orientated to the questions about the functions of the poetic language and about the status and sense of poetry, thereby addressing the self-topicality.

Notes on the phenomenology of interiority and the foundations of psychology

2013 ◽  
Vol 5 (1) ◽  
pp. 3-18
Author(s):  
Roger Brooke
Keyword(s):  
Phenomenological Analysis ◽  
Critical Discussion ◽  
The Self ◽  
Mental Life ◽  
Inner Life ◽  
Self Reflection ◽  
Temporal Continuity ◽  
The World ◽  
Dialectical Tension ◽  
Developmental Significance

Interiority and any reference to an inner life have been radically deconstructed by the philosophical anthropologists, who find in the psychological constructions of the self and the theories of mental life the legacy of Descartes and Galileo. This critique is argued in some detail. However, the language of interiority is not merely an epistemological error on the part of the speaker. Psychoanalysis and psychopathology have documented the developmental significance of interiority and its absence. A phenomenological analysis of interiority, based in part on a clinical example, reveals several interrelated themes: temporal continuity; imagination; responsibility and ownership; privacy; self-reflection. Each of these themes is interpreted existentially in terms of being in the world. A critical discussion of interiority in Giegerich's work concludes the paper. It is argued paradoxically that the dialectical tension between interiority and exteriority – psyche and its grounding in events and relations to others – is a dimension within interiority itself.

scholarly journals The Didactic Function of the Autobiographical Story (On the Dialect Material)

2021 ◽  
pp. 38-54
Author(s):  
Svetlana V. Voloshina ◽  
Keyword(s):  
The Self ◽  
Tomsk Oblast ◽  
Linguistic Expression ◽  
Self Reflection ◽  
Speech Genres ◽  
Audio Recordings ◽  
The World ◽  
Different Types ◽  
Autobiographical Texts ◽  
The 1960S

The aim of the article is to identify the means of linguistic expression of the di-dactic function and the factors of this function’s implementation in dialectal autobio-graphical stories. The material of the research is 120 oral autobiographical stories, which were recorded in Tomsk Oblast from the 1960s to 2018 during dialectological expeditions. The source of the material is the texts of the Tomsk dialect corpus (http://losl.tsu.ru/?q=corpus), as well as audio recordings of dialect speech, made by the author of the article during the expeditions in villages Pervomayskoe, Pervomayskiy District of Tomsk Oblast, in 2008, and Melnikovo, Shegarskiy District of Tomsk Ob-last, in 2017–2019. The didactic function is understood as the ability of autobiographical stories, in a broad sense, to be a tool of training, education, transfer of important knowledge about the world, accompanied by the desire of the stories’ authors to teach interlocutors, to explain something to them, to give advice. The author of the article identified the factors of implementing the didactic function in the autobio-graphical story. Among them are: 1) the specificity of dialect discourse: it is focused on tradition, its preservation and translation; 2) the genre of the material: since autobio-graphical texts have a retrospective orientation, informants, reporting on their lives, give an example, a model for the interlocutor to follow, or, vice versa, to avoid errors in life, not to repeat them; 3) the communicative situation and its components: first of all, these are participants of communication – a dialectologist and an informant; they be-long to different types of culture, and informants therefore strengthen the interpretive element in their stories, explaining what a word means, where and how an object is used, etc. As a rule, informants are older, so they give recommendations to dialectolo-gists, teach them: Now, girls, you live in a good century. It is just necessary to work, just to work. To learn, to work, and then all will be well. So, girls, live, take care of your life. Take care of life. The theme, time and space of communication were also identified among the components of the communicative situation. All these factors take part in the representation of the didactic function. It is determined that didacticism can be expressed in the speech genres of advice, explanation, and culinary recipe. The di-dactic function is represented by imperative statements, words of the category of state, statements reflecting informants’ values and ideas about ethical and moral categories, by infinitive constructions, statements with verbs in the form of abstract present or fu-ture tenses, lexemes expressing moral values. It has been determined that the didacti-cism of autobiographical texts is associated with the self-reflection of informants about their lives and, more broadly, with the analysis of generational experience.

scholarly journals ANALYSIS OF EDUCATIONAL VALUESIN ISLAMIC HISTORICAL LITERACY

Abjadia ◽  
2016 ◽  
Vol 1 (1) ◽  
pp. 1 ◽  
Author(s):  
Atina Tri Rokhmatin ◽  
Dewi Nur Suci
Keyword(s):  
The Self ◽  
Moral Awareness ◽  
Research Skill ◽  
Educational Values ◽  
Islamic History ◽  
Self Reflection ◽  
The Past ◽  
The World ◽  
Historical Literacy ◽  
Character Building

This research is intended to reveal the educational values in the historical literacy, entitled “Salahuddin Al Ayyubi dan Perang Salib III” written by Alwi Alatas. The educational values exploring the notion of moral, awareness and religion values can be transformed into Islamic History subjects in Madrasah such as Aqidah Akhlaq, Al-Qur’an Al-Hadith, Shariah and Islamic history. Seemingly the same as moral and awareness values, religion values comprise pious, ubudiyah and muamalah that are appropriate to voice the character building as the spirit of curriculum 2013. As the result, it is expected that the learner’s perspectives on their religion history can be explored.  Categorized as Islamic historical genre, this novel does not only promote the awareness on the historical place, language, events, narratives, concept, research skill, contention and contestability. This literacy can familiarize the learners with moral judgement and the ability of self reflection by making connection that relates the past with the self and the world today.

Power of Darkness: Narrative and Biographical Reflexivity in A Series of Unfortunate Events

2008 ◽  
Vol 1 (2) ◽  
pp. 200-212
Author(s):  
ELIZABETH BULLEN
Keyword(s):  
The Self ◽  
Risk Society ◽  
Project Risk ◽  
Young Readers ◽  
The World ◽  
The Face ◽  
High Earning ◽  
Textual Culture ◽  
Children’S Exposure ◽  
Central Claim

This paper investigates the high-earning children's series, A Series of Unfortunate Events, in relation to the skills young people require to survive and thrive in what Ulrich Beck calls risk society. Children's textual culture has been traditionally informed by assumptions about childhood happiness and the need to reassure young readers that the world is safe. The genre is consequently vexed by adult anxiety about children's exposure to certain kinds of knowledge. This paper discusses the implications of the representation of adversity in the Lemony Snicket series via its subversions of the conventions of children's fiction and metafictional strategies. Its central claim is that the self-consciousness or self-reflexivity of A Series of Unfortunate Events} models one of the forms of reflexivity children need to be resilient in the face of adversity and to empower them to undertake the biographical project risk society requires of them.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

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