Digital competences in Nordic teacher education

We investigate how digital competences are being integrated into teacher education (TE) across the Nordic countries - Denmark, Sweden, Norway, and Finland in this article. We make the case that there has been an expansion of the agenda for digital competences in education. Digital competences have developed from an information and communication technology perspective to also include a critical, social, and creative understanding of digital technologies and computing competences. Methodologically, we make use of doc-ument analyses, qualitative questionnaires, and interviews with participants in the field. With an emphasis on Danish TE, we explore how TE in the Nordic countries has responded to this agenda on policy and institutional levels. We suggest that the Danish approach to the expanded agenda can augment tendencies and challenges in Nordic responses to digitalisation in TE. A key finding is that Nordic countries respond to the expanded agenda in different ways regarding policy regulation, content areas, and how digital com-petences are organised and distributed on a local level. Tendencies and challenges identified across Nordic countries are valuable to ensure the continual development of teachers’ digital competences.

Interpretive Methodologies, Quantitative Methods, and Comparative Environmental Politics

This chapter argues for a broader and more creative understanding of the relationship between methods and epistemology in the study of comparative environmental politics. Quantitative methods tend to be associated with comparative inferential questions while interpretive questions tend to be associated with qualitative methods. This chapter argues against these associations. The chapter begins by fleshing out the argument against assumed methodological associations. It identifies the use of quantitative methods in interpretive research as the biggest lacuna in the methodological playing field of comparative environmental politics. It then presents two examples of how to use quantitative methods effectively in interpretive research, without embedding those methods in an epistemological positivism with which they are generally associated. The first of these cases, based on dissertation research by Saskia van Wees, looks at the different patterns of environmental performance and environmental foreign policy in India and China in the period 2002–2012. The second case looks at efforts by Indigenous and traditional communities in Brazil’s Amazon Basin to oppose the construction of dams that would impact their communities.

On Hartshorne's Creative Understanding of the Christian View of Love and Its Significance for Comparative Religious Studies

Charles Hartshorne highlights sympathy as a core element of God's love that is undervalued in Christian theology. A detailed understanding of the relationship between loving God and loving others and loving others as oneself is developed based on God's sympathetic love. A comparison between Hartshorne's sympathetic love and Confucian empathetic ren is possible since both eliminate the estrangement between the subject loving and the subject loved and both expand love to others beyond the limited scope of love in human moral practice.

Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century

The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.

«HAMLET» BY WILLIAM SHAKESPEARE IN THE TRANSLATION AND CREATIVE UNDERSTANDING OF THE UKRAINIAN WRITERS OF THE NINETEENTH CENTURY

The article is devoted to a detailed analysis of the translations of the tragedy «Hamlet» by William Shakespeare in the context of the aesthetic views of Ukrainian writers of the nineteenth century. The idea that synchronous and diachronic consideration of the literary evolution of Hamlet’s image demonstrates the emergence of Hamletism as a certain aesthetic category is justified. A comparative analysis of the translations of Hamlet by Ukrainian authors was carried out. On the basis of research, it is established that the translator, as well as the reader, finds itself «between» texts of different cultures and literatures, that is, in a situation of complete uncertainty, cultural «border», by performing a double hermeneutic act of «decoding» «one’s» and «another’s» tradition available in the original and in its translation. The author concludes that Shakespeare at the world-philosophical level was close to the Ukrainian translators of the XIX century: the writers considered in Shakespeare’s works a timeless universality and a prehistoric dimension of the human personality, a peculiar human «monad», which can be different in different ways. It was observed that Ukrainian translators are united not only by language innovation, the attraction of deep layers of the Ukrainian language, but also the sole purpose – the cultural revival of the state through the revival of the language.

Feminist Dialogic Pedagogical Spaces in Teacher Education: Practical Inclusivity, Eye-opening and Change

In this reflective article, I explore a feminist dialogic pedagogy of inclusive education (IE) in the sociocultural context of my and my students’ lived experience. I ask what a feminist dialogic pedagogy means to my students. The purpose of this article therefore is to advance knowledge about a feminist dialogic pedagogy in teacher education with a focus on the formation of students’ critical consciousness of IE philosophy that is currently mandated by all Canadian provinces. My intention is to contribute to an evolving scholarship of feminist pedagogy in teacher education programmes with a grounded and creative understanding of teacher candidates’ lived experience. The article argues that feminist dialogic pedagogy creates a space of inclusion for all students. Despite and across social differences, this pedagogy leads a conscious change among students, impacting their daily lives. Consequently, students successfully achieve their academic goals because they feel critically attentive to and conscious of their situated knowledge ( Haraway, 1988 , Feminist Studies, vol. 14, pp. 575–599) in educational institutions.

Interpretation of Material Cultural Heritage in the Context of Museum

Interpretation of cultural values and cultural heritage is one of the most common types of their development and creative understanding. However, the concept of ‘interpretation’ remains blurred among related processes, usually without getting much mention. In the field of cultural heritage preservation, interpretation is the main method of human development of cultural heritage objects. The process and results of interpretation, as shown by the long history of preservation of cultural heritage, also affect the preservation of cultural heritage. The proposed material is devoted to the consideration of a museum as an example of one of the most consistent built spaces and tools for the interpretation of cultural heritage. The subject of the research is the methods of museum work considered in the context of mechanisms of interpretation of material cultural heritage. Museum as an instrument of interpretation has been known since ancient times. Human interest in ancient artifacts that act as visible symbols of historical and cultural memory of the past, eventually led to the development of collecting, and then, with the publication of collections, to the emergence of museums. Museum and its activities occupy a special place in the methodology of interpretation. The museum space can set its own special rhythm of historical time and create conditions for comfortable perception of the presented artifacts. No other cultural institution has such a task, and if it is necessary to present an artifact, interested persons in one way or another turn to the method tested on museum sites. As a result of the research, the author identified five stages of museum activities, which are generally typical for the mechanism of interpretation of cultural heritage. Therefore, the main goal of museum activities should be recognized as an interpretation of cultural heritage. In accordance with this goal, the museum's tasks are also implemented, including the preservation, publication and promotion of the collection's artifacts. Thus, the role and place of the museum as a specific space created for the purpose of interpreting cultural heritage is proved. These provisions allow us to look at the theory and practice of museum activities in a different way, in the context of interpreting cultural identity.

M. LEONTOVYCH’S WORK OF FOLKLORE IN THE CONTEXT OF THE NEW UKRAINIAN SCHOOL

The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.

The artworks of Lenina Nikitina as a form of visualization of cultural memory

In modern cultural studies, there is an increased interest in biography as a phenomenon associated with cultural memory. Subjective experience, the eff ect of getting used to someone else’s life allows the viewer to feel the personality of another, not like him as a valuable cultural experience. Lenina Nikitina is a Leningrad artist,a Petersburg artist whose work, unfortunately, is familiar to a small circle of viewers. The talent of the author was able to turn the events of his personal life into a cultural, artistic event. The works of Lenina Nikitina are relevant for the modern audience as a vivid example of the development of the ideas of fi gurative expressionism and asan example of visualizing the cultural memory of an entire era through a creative understanding of the events of her life and as documentary evidence of events of the history of the twentieth century, including the Siege of Leningrad. The artist’s talent launches the mechanism of bodily assimilation into what is happening, empathy givesthe image credibility, makes it immerse into it as what is happening here-and-now. In this case, the painting is more documentary than, for example, photography or video. The aff ectiveness of experience becomes not only a way of bodily comprehension, sensation of the past, but it can become an experience infl uencing here-and-now, personal cultural experience. Cultural memory in such a context can be seen as an interweaving of clumps of individual stories and experiences, not all of which correspond to the usual appearance of the historical period or the image of the event in the media, aff ecting our being here and now.