scholarly journals Cultural pedagogy and it’s development on the threshold of 3rd decade of 21st century

2021 ◽  
Vol XII (1 (34)) ◽  
pp. 149-166
Author(s):  
Janusz Gajda
Keyword(s):  
Interwar Period ◽  
21St Century ◽  
Theory And Practice ◽  
World War ◽  
World War 2 ◽  
Cultural Pedagogy ◽  
Symbolic World ◽  
Education And Development ◽  
Theory Research ◽  
Further Development

This paper - as stated in the title - covers theory, research and practice of cultural pedagogy in Poland, especially at the beginning of 3rd decade of 21st century. It consists of 2 parts concerning the following issues: History until the end of 20th century Tradition, origin, subject and philosophical assumptions Cultural pedagogy in the interwar period in Poland Cultural pedagogy as a humanistic pedagogy after 2nd World War 2. Return of cultural pedagogy after 1995 and it’s further development Cultural pedagogy, it’s humanistic-anthropological character Important publications and academic centers which popularize cultural pedagogy Summary Connecting theory and practice is a requirement for effective education and development of humanistic-anthropological cultural pedagogy which is open to „real world” and „symbolic world”. The last statement, justified in the Summary, is the main thesis of this paper.

From Socialism to Fascism: The Relation between Theory and Practice in the Work of Robert Michels

1977 ◽  
Vol 25 (2) ◽  
pp. 161-181 ◽  
Author(s):  
David Beetham
Keyword(s):  
Theory And Practice ◽  
World War ◽  
Historical Experience ◽  
Elite Theory ◽  
Self Image ◽  
Mass Psychology ◽  
Scientific Status ◽  
Authoritarian Government ◽  
Further Development

This article concludes a study tracing the role of élite theory in Michels' development from revolutionary socialist to Fascist ideologue. It argues, first that the laws of oligarchy and élite circulation as expounded by Mosca and Pareto made the Fascist seizure of power appear historically necessary. It then examines the contribution which the experience of Fascist rule made to the further development of élite theory in Michels' work; his use of the theory to give scientific status to the self-image of the Fascist élite and the charismatic claims of its leader; his legitimation of authoritarian government and nationalist policies through the theories of mass psychology. The conclusion argues that what distinguished Michels from other Fascist ideologues was his use of scientific categories, and locates the origin of these categories in the historical experience of pre-world war Europe.

The Critical Heritage of Japanese Geography: Its Tortured Trajectory for Eight Decades

2005 ◽  
Vol 23 (3) ◽  
pp. 453-473 ◽  
Author(s):  
Fujio Mizuoka ◽  
Toshio Mizuuchi ◽  
Tetsuya Hisatake ◽  
Kenji Tsutsumi ◽  
Tetsushi Fujita
Keyword(s):  
Close Association ◽  
Critical Geography ◽  
Regional Structure ◽  
World War ◽  
Social Scientists ◽  
World War 2 ◽  
General Orientation ◽  
Critical Heritage ◽  
To Come ◽  
Further Development

In Japan, critical geography has been practised for eight decades: since the 1920s when poverty and the miserable condition of labour and peasants instigated Japanese social scientists to adopt Marxism. The critical heritage began with importing works by German Marxist and soviet scholars, followed by criticism of the geopolitical ideologies that supported the militarist regime and the war of aggression. Besides them, the general orientation of critical geography before World War 2 remained mainly exceptionalist. Critical geographers gained momentum in the course of the democratisation process after World War 2, and they consolidated themselves by forming one of the earliest alternative organisations of geography, the Japan Association of Economic Geographers. Although the trend of exceptionalism persisted, some attempts to theorise critical geography emerged in the late 1960s to early 1970s. Noboru Ueno's work Chishigaku no Genten (The ultimate origin of chorography) (1972, Taimeido, Tokyo), for example, integrated the tenets of Marxism and phenomenology into a theoretical body of Marxist chorography that dealt with alienation of the indigenous fishers from the neighbouring sea, which was polluted with mercury from industrial waste. Yet, the advent of Toshifumi Yada's chiiki kozo ron (theory of regional structure) in 1973 (see Yada, 1990 Chiiki Kozo no Riron [The theory of regional structure] Mineruba Shobo, Kyoto) and its subsequent domination in the circle of once-critical geographers of a younger generation shattered further development of the critical heritage. The general orientation of geographers in Japan has become much more conservative and lost the intellectual power to come to terms with the growing critical trend among international geographers. At the same time, Japanese social scientists outside geography started to adopt the conceptions of critical geography developed abroad, bypassing the Japanese geographers' circle. It was not until the early 1990s that a group of critically minded geographers set out their endeavour to revitalise the critical heritage of geography afresh, to create their own conceptions of critical geography in close association with an international group of critical geographers.

scholarly journals Echa międzywojnia w muzycznym folklorze powojennej Lubelszczyzny. Na podstawie zapisów Włodzimierza Dębskiego

2019 ◽  
Vol 16 (1/2) ◽  
pp. 63
Author(s):  
Agata Kusto
Keyword(s):  
Music Education ◽  
Interwar Period ◽  
School Age ◽  
World War ◽  
Musical Culture ◽  
World War 2 ◽  
Wedding Songs ◽  
Written Form ◽  
Post War

<p>Artykuł jest próbą uchwycenia wpływów pieśniowej tradycji międzywojnia, jakim podlegał repertuar udokumentowany po drugiej wojnie światowej na terenie Lubelszczyzny. Inspiracją dla podjęcia tematu stały się niepublikowane zapiski rękopiśmienne Włodzimierza Dębskiego (1922-1998) – kompozytora, teoretyka muzyki, etnomuzykologa, animatora edukacji muzycznej. W latach 1963-1976 Dębski aktywnie współtworzył szkolnictwo muzyczne w Lublinie, jednocześnie dokumentował i badał lubelski folklor muzyczny. Większość wykonawców, których Dębski uwzględnił w swoich badaniach, to osoby urodzone w przedziale lat 1910-1925. Byli to więc przedstawiciele pokolenia, którego wiek szkolny przypadł na okres międzywojenny. Konstrukcja niniejszego tekstu opiera się na porównaniach kultury muzycznej w międzywojennym Lublinie i regionie lubelskim z repertuarem lat 70-tych i 80-tych XX w. Na pieśniowy materiał z Lubelszczyzny utrwalony fonicznie i w przekazach pisanych (teksty) w okresie powojennym składają się śpiewy kilku wykonawców. W repertuarze Teresy Sołtys z podlubelskich Zemborzyc znajdowały się pieśni harcerskie, patriotyczne, żołnierskie/wojenne, obrzędowe, m.in.: <em>Cicho w stepie</em>, <em>Do polskiego wojska chłopców zaciągają</em>,<em> Gdy kogut zapiał w kurniku</em>, <em>Gdybym był hulaką</em>,<em> Hej, tam w karczmie, za stołem</em>, <em>Na nowej górze jadą żołnierze</em>,<em> Pod Krakowem czarna rola</em>, <em>Przyszedł nam rozkaz stanąć do boju</em>, <em>Szabla dzwoni o ostrogę</em>, <em>W suterynie daleko za miastem</em>, <em>Wesoła marynarska pragnie powitać nas wiara</em>, <em>Zmarł biedaczysko w szpitalu wojskowym</em>. Innym źródłem powojennego repertuaru przechowującego pieśni z okresu przedwojennego są nagrania Józefa Struskiego, obejmujące śpiewy kolędowe (<em>Za kolędę dziękujemy</em>, <em>Nie bój się królu żadnej</em>), weselne (<em>Już ci teraz, Kasiuleńko, welon zdejmiemy</em>,<em> Uklęknijże, córko</em>), biesiadne (<em>Chociaż są na świecie różne alkohole</em>, <em>Przyjacielu mój, rób bimber swój</em>), żołnierskie/wojenne (<em>Chcąc podwyższyć kadrę armii Beselera</em>, <em>Zawodzą dzwony w kościele</em>), zalotne/miłosne (<em>Szedłem sobie drożyneczką</em>, <em>Zaszło słonko, zaszło za góry</em>) i inne. Do cennych informatorów, zwłaszcza gdy chodzi o tradycję muzyki wojskowej, należeli Bolesław Strawa i Stanisław Zdybała. Ten ostatni pomięta wiele tytułów przedwojennych pieśni, które żyły w powojennym śpiewie wojskowym (<em>Było późno z wieczora</em>, <em>Do polskiego wojska</em>,<em> </em><em>Oj, bieda, bieda</em>,<em> Karpaccy górale</em>,<em> Tam we pękach bzu altana</em>).</p><p><strong>Echoes of the Interwar Period in Music Folklore of Postwar Lublin Province. On the Basis of Włodzimierz Dębski’s Notes</strong></p>SUMMARY<p>The article is an attempt to present the infl uences of the song tradition of the interwar period on the repertoire documented after World War 2 on the Lublin province territory. The unpublished handwritten notes of Włodzimierz Dębski (1922- 1998), a composer, theoretician of music, ethnomusicologist, animateur of music education, were the inspiration for undertaking this subject. In 1963-1976 Dębski actively co-created the music education in Lublin; simultaneously he documented and studied Lublin’s musical folklore. The majority of performers included in Dębski’s studies were born between 1910 and 1925. Therefore, they were the representatives of the generation whose school age fell on the interwar period. The construction of this paper is based on the comparison of musical culture in interwar Lublin and in the Lublin region with the repertoire of the 1970s and 1980s. The song material from the Lublin region phonically recorded and in written form (texts) in the interwar period consists of the singing of several performers. In her repertoire, Teresa Sołtys from Zemborzyce near Lublin had scouts’, patriotic, military/war, and ritual songs, inter alia, Cicho w stepie, Do polskiego wojska chłopców zaciągają, Gdy kogut zapiał w kurniku, Gdybym był hulaką, Hej, tam w karczmie,za stołem, Na nowej górze jada żołnierze, Pod Krakowem czarna rola, Przyszedł nam rozkaz stanąć do boju, Szabla dzwoni o ostrogę, W suterynie daleko za miastem, Wesoła marynarska pragnie powitać nas wiara, Zmarł biedaczysko w szpitalu wojskowym. Another source of the postwar repertoire that includes songs from the pre-war period are the recordings of Józef Struski, which comprised Christmas carols (Za kolędę dziękujemy, Nie bój się królu żadnej), wedding songs (Już ci teraz, Kasiuleńko, welon zdejmiemy, Uklęknijże córko), drinking songs (Chociaż są na świecie różne alkohole, Przyjacielu mój, rób bimber swój), military/war songs (Chcąc podwyższyć kadrę armii Beselera, Zawodzą dzwony w kościele), courtship/love songs (Szedłem sobie drożyneczką, Zaszło słonko, zaszło za góry) and others. Bolesław Strawa and Stanisław Zdybała were precious informants, especially as far as military music was concerned. The latter remembers many titles of the pre-war songs which were present in post-war military singing (Było późno z wieczora, Do polskiego wojska, Oj, bieda, bieda, Karpaccy górale, Tam we pękach bzu altana).</p>

scholarly journals “Kumoterki”, tradition, sport and cultural heritage

2021 ◽  
Vol 4 (1) ◽  
pp. 75-86
Author(s):  
Maciej Baraniak
Keyword(s):  
Cultural Heritage ◽  
19Th Century ◽  
Interwar Period ◽  
Newborn Baby ◽  
World War ◽  
World War 2 ◽  
Social Events

In the dialect of Polish Tatra highlanders the word “kumoterki” indicates a small two-person sleigh traditionally harnessed to one horse. It is derived from the word “kumotrzy” which is godparents who used the horse team to get with a newborn baby to church to have the child baptised.Since the mid-19th-century horse-drawn sleighs used by Tatra highlanders have been the masterpieces of woodcarving art. A lot of attention has been paid to the precision of workmanship, the choice of material and ornamentation. Initially, they were used as the means of transport during snowy winters in the Polish Tatra region. During the Interwar period, due to the development of mass motorization, horse-drawn sleighs lost their utilitarian character and people started to use them in racing events. The first horse-drawn sleigh race took place in Zakopane in 1929. It was an annual event until 1939. After World War 2, horse-drawn sleigh races were reactivated in 1962 in Zakopane and after that, after a few-year break, in 1972 in Bukowina Tatrzańska.In the 1970s horse-drawn sleigh races were treated mostly as social events and folk festivities rather than sports competitions. Horses that took part in the races at that time were used to work mainly on the farmland and were not specially prepared for the races. This situation changed completely at the beginning of the 1990s after sport horses had been brought to Podhale. Since then horse-drawn sleigh races have become typical sports competitions; older highlanders started to resign from speed racing leaving the place for young contestants. Sports rivalry and willingness to achieve the best time of a ride displaced the fun and entertainment factor of this event.

scholarly journals A JOURNEY TO (OWN) MEMORY: LVIV BETWEEN AND DURING WORLD WAR II IN CONTEMPORARY TEXT (BASED ON NOVELS "THE MUSEUM OF ABANDONED SECRETS" BY OKSANA ZABUZHKO AND "TANGO OF DEATH" BY YURII VYNNYCHUK)

2018 ◽  
Vol 31 ◽  
pp. 278-355
Author(s):  
Khrystyna RUTAR
Keyword(s):  
World War Ii ◽  
Interwar Period ◽  
21St Century ◽  
Memory Studies ◽  
Historical Novels ◽  
The Novel ◽  
World War ◽  
Access Memory ◽  
The Past ◽  
Ukrainian Text

In the article basing on theoretical framework of memory studies, two historical novels written by modern Ukrainian authors have been analyzed. The main references to the interwar Lviv and Lviv during the war in works are singled out and the importance of inclusion and comprehension of places of those two periods in modern Ukrainian text is indicated. The main strategies of returning to memory of interwar Lviv and its inhabitants are analyzed. The traumatized memory and ways of talking about the 20th century cultural traumas were analyzed in the 21st century novel, those traumas, which for more than a half of century were surrounded by curtain of fear, censorship and inability to speak openly about it. Attention is drawn to the names of streets are obtaining features of memory prosthesis and becomes an access memory tool. The author concludes that the novel, which had the opportunity to take a fresh look at the traumatic pages of the past, remains in the shadow of stereotypes and silence. The abilities of literature in memory studies is analyzed and are noted that literature can be both as a tool of memory and as an object of memory studies. Keywords memory, Lviv, Oksana Zabuzhko, Yurii Vynnychuk, Museum of abandoned secrets, Tango of Death, trauma, war, interwar period.

The Rise of Translation Studies in Bulgaria

2021 ◽  
Vol 48 (4) ◽  
pp. 352-359
Author(s):  
Irena Kristeva ◽  
Keyword(s):  
21St Century ◽  
Publishing House ◽  
Translation Studies ◽  
Second World War ◽  
Theory And Practice ◽  
Translation Theory ◽  
World War ◽  
The One ◽  
Second World ◽  
Foundation Stone

This article sets out to outline the evolution of the Translation Studies in Bulgaria from 1970 till the beginning of the 21st century. It aims to provide a brief overview of some pioneering articles, the studies that marked the development of translation theory from 1970 to 1990 and some works from the post-totalitarian period. In 1976 the Publishing House Narodna kultura lays the foundation stone for Translation studies, creating the collection “The Art of Translation”. From the 1970s, the Theory and Practice of Translation are included in the courses offered by the Faculty of Western Languages of Sofia University. If the key word defining the translating activity in Bulgaria from the Second World War to the 1990s is confinement, the one that qualifies its state at the beginning of the 21st century is openness. Very controlled in the years 1970 – 1990, the translatological reflection frees itself from the ideological pressure at the turn of the 20st and 21st centuries.

Recepcja niemieckiej pedagogiki kultury w polskiej humanistyce

2020 ◽  
Vol 64 (4 (254) ◽  
pp. 9-19
Author(s):  
Mirosław S. Szymański
Keyword(s):  
World War Ii ◽  
Critical Pedagogy ◽  
Interwar Period ◽  
The Other ◽  
World War ◽  
Original Source ◽  
Main Thesis ◽  
Cultural Pedagogy ◽  
Starting Point ◽  
German Education

The starting point for the discussion is the obvious statement that cultural pedagogy is one of the three main currents in German education sciences; the other two are empirical and critical pedagogy. As the title suggests, the author focuses on cultural pedagogy only, and in particular on the reception of German cultural pedagogy by Polish cultural pedagogy during the interwar period. One can definitely say that German Geisteswissenschaften, or “the sciences of spirit” (including pedagogy) influenced Polish humanities. The main thesis of the article is that although the geisteswissenschaftliche Pädagogik had an overwhelming influence on pedagogical thinking and actions in Poland before World War II, it became considerably marginalised or almost totally forgotten after the war, as it was proclaimed a “bourgeois relic” and an “old fashioned trinket”. Theodor Litt (1880–1962) and Eduard Spranger (1882–1963) are commonly considered the leading representatives of German cultural pedagogy, and their Polish counterparts are Bogdan Nawroczyński (1882–1974) and Bogdan Suchodolski (1902–1993). The article refers to original source literature – although in brief – to discuss the influence of the educational concepts of the former group on the latter one. By proposing such analysis, the author hopes for fair and critical restructuring of cultural pedagogy in Poland, if not for its revitalisation. The first signs are already there.

scholarly journals Multicultural Galicia in American Popular Memory: Reflections on the Film Three Stories of Galicia

2021 ◽  
Vol 1 (26) ◽  
pp. 273-288
Author(s):  
Andrew Kier Wise
Keyword(s):  
World War Ii ◽  
Interwar Period ◽  
21St Century ◽  
Creative Process ◽  
World War ◽  
Peaceful Coexistence ◽  
The Holocaust ◽  
Popular Memory ◽  
History Of ◽  
Post Racial America

This article deals with 21st-century American perceptions of the multicultural history of Galicia, especially during the interwar period, World War II and the Holocaust. The author primarily examines select books, articles and films that target a broad American audience. In particular, the film Three Stories of Galicia (2010) is analyzed, with a focus on the ways in which American audiences helped shape the directors’ creative process. The Galician stories in the film thus became “Americanized” and “universalized” models for efforts at reconciliation in other troubled multicultural societies. The author also concludes that the “myth of Galicia” featuring the peaceful coexistence of peoples resonates especially with readers and viewers who envision a “post-racial America.” [Wielokulturowa Galicja w amerykańskiej pamięci popularnej: Refleksje nad filmem „Trzy historie Galicji”] Niniejszy artykuł dotyczy amerykańskiego postrzegania wielokulturowej historii Galicji w XXI wieku, zwłaszcza okresu międzywojennego, czasu II wojny światowej i Holokaustu. Autor analizuje przede wszystkim wybrane książki, artykuły i filmy skierowane do szerokiego amerykańskiego odbiorcy. W sposób szczególny analizie został poddany film Trzy historie Galicji (2010), z naciskiem na sposób, w jaki amerykańska publiczność pomogła ukształtować proces twórczy reżyserów. Historie galicyjskie w filmie stały się w ten sposób „zamerykanizowanymi” i „uniwersalizowanymi” modelami wysiłków na rzecz pojednania w innych nękanych konfliktami społeczeństwach wielokulturowych. Autor konkluduje również, że „mit Galicji” o pokojowym współistnieniu narodów trafia zwłaszcza do czytelników i widzów, którzy pragnęliby Ameryki „postrasowej”.

Human Rights and Community-led Development

2018 ◽  
Author(s):  
Ben Cislaghi
Keyword(s):  
Human Development ◽  
West African ◽  
Ethnographic Study ◽  
Theory And Practice ◽  
Community Based ◽  
Theoretical Understanding ◽  
Qualitative Evidence ◽  
Actual Change ◽  
Grassroots Level ◽  
Education And Development

How can we best empower people living in the most economically disadvantaged areas of the world to improve their lives in ways that matter to them? This book investigates work of the NGO Tostan as a working model of human development. The study is grounded in the ethnographic study of the actual change that happened in one West African village. The result is a powerful mix of theory and practice that questions existing approaches to development and that speaks to both development scholars and practitioners. Divided into three parts, the book firstly assesses why top-down approaches to education and development are unhelpful and offers a theoretical understanding of what constitutes helpful development. Part two examines Tostan's community-based participatory approach as an example of a helpful development intervention, and offers qualitative evidence of its effectiveness. Part three builds a model of how community-led development works, why it is helpful, and what practitioners can do to help people at the grassroots level lead their own human development.

PROBLEMS AND TRENDS OF DEVELOPMENT OF BRANCHES OF CRIMINALISTIC TECHNOLOGY

2017 ◽  
Author(s):  
Vitaliy Elyotnov ◽  
Keyword(s):  
Forensic Science ◽  
Video Recording ◽  
Theory And Practice ◽  
Controversial Issues ◽  
Forensic Photography ◽  
Forensic Research ◽  
Forensic Scientists ◽  
Further Development

The article examines the key provisions of traditional and developing branches of forensic technology as a branch of the forensic science. The article analyzes modern publications of domestic and foreign scientists dedicated to the problems of forensic technology. Discussion issues and gaps existing in the theory and practice of such branches of forensic technology as forensic photography and video recording, forensic phonoscopy, forensic traceology, forensic weapons science, forensic documentation, forensic research of substances, materials and products, forensic registration, etc. The opinions of individual forensic scientists on the resolution of controversial issues of forensic technology are given. The scientific directions that have not received at present recognition of independent branches of forensic technology are indicated. The promising areas of research in the framework of the branches of forensic technology are named, the main trends of its further development are formulated.

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