THE INTERNATIONAL POPULARISATION OF LESSON STUDY: EARLY STUDIES AND THEIR RELEVANCE IN LATER LITERATURE

Lesson study (LS) is a teachers’ professional development practice with a Japanese origin that, at present, is practiced in more than 30 countries. Literature on LS acknowledges the works of Stigler and Hiebert and of Yoshida in 1999 as the origin of its internationalization. However, earlier studies described its practice and have mostly remained under the radar of LS previous researcher. This historical and documentary literature review sheds light on these previous studies describing LS, analyses their bibliometric relevance, and uncovers the first use of ‘lesson study’ as the terminology adopted in the international literature. Results reveal eight studies clearly describing LS before 1999 and more oblique references in the 1980s. ‘Lesson study’ appeared first in 1997, but we make the case for the previous use of other terminology. Findings also show that only those studies written by authors who later became key in the field of LS have received a high number of citations. These results bring attention to LS-related literature that has infrequently been cited, granting it recognition in the international history of LS, and expanding our current view in relation to its practice.

Anthropology of the Working-class: Documentary Literature of 1930s Britain

<p>Bookmarked neatly by the Wall Street Crash of 1929 and the outbreak of the Second World War in 1939, the 1930s are often characterised as the decade in which writers felt compelled to engage in politics. According to one predominant critical narrative, modernist subjectivity and notions of aesthetic autonomy were eschewed in favour of a more direct involvement with the social and political realities of the time. This thesis explores, and follows in part, this interpretation of the decade’s literary direction by examining British documentary literature and its engagement with the social distress of the Depression. Driven by an intense fascination with the domestic working-classes (from which each of my professional “authors” remained outsiders), documentary writers journeyed to Britain’s industrial centres to experience working conditions directly. Writers of documentary literature took 1930s realist preoccupations to their most extreme by assuming the role, intentionally or not, of the anthropologist. Paradoxically, this move towards the empirical functioned as a means of crossing what C. P. Snow would later describe as the divide between the “two cultures” of science and arts. I apply Snow’s notion analogously, with documentary literature representing a bridging (depending on each text) of the divides between social science and literature, realism and modernism, political commitment and aesthetic autonomy, North and South, and between the working and middle-classes. My first chapter discusses Priestley’s English Journey (1934), which while crossing class and geographical divisions, stylistically remains the most conservative of my chosen texts and offers the most moderate example of a generic cultural crossing. The second chapter explores Grey Children (1937) by James Hanley, whose journalistic arrangement of verbatim working-class voices develops a modernist aesthetic. I then move to Orwell’s The Road to Wigan Pier (1937), which unusually for a text by a “literary” author includes extensive figures and statistics, but is more successful in documenting the gritty realities of working life through literary means. The final chapter centres on Mass-Observation’s The Pub and the People (1943) whose obsessive recording of even the most minute details of pub life develops into a bizarre, almost surrealist work of literature. The order of my four chosen texts does not imply a sense of literary value but rather traces a trajectory from the least to the most radical experiments in documentary literature.</p>

Anthropology of the Working-class: Documentary Literature of 1930s Britain

<p>Bookmarked neatly by the Wall Street Crash of 1929 and the outbreak of the Second World War in 1939, the 1930s are often characterised as the decade in which writers felt compelled to engage in politics. According to one predominant critical narrative, modernist subjectivity and notions of aesthetic autonomy were eschewed in favour of a more direct involvement with the social and political realities of the time. This thesis explores, and follows in part, this interpretation of the decade’s literary direction by examining British documentary literature and its engagement with the social distress of the Depression. Driven by an intense fascination with the domestic working-classes (from which each of my professional “authors” remained outsiders), documentary writers journeyed to Britain’s industrial centres to experience working conditions directly. Writers of documentary literature took 1930s realist preoccupations to their most extreme by assuming the role, intentionally or not, of the anthropologist. Paradoxically, this move towards the empirical functioned as a means of crossing what C. P. Snow would later describe as the divide between the “two cultures” of science and arts. I apply Snow’s notion analogously, with documentary literature representing a bridging (depending on each text) of the divides between social science and literature, realism and modernism, political commitment and aesthetic autonomy, North and South, and between the working and middle-classes. My first chapter discusses Priestley’s English Journey (1934), which while crossing class and geographical divisions, stylistically remains the most conservative of my chosen texts and offers the most moderate example of a generic cultural crossing. The second chapter explores Grey Children (1937) by James Hanley, whose journalistic arrangement of verbatim working-class voices develops a modernist aesthetic. I then move to Orwell’s The Road to Wigan Pier (1937), which unusually for a text by a “literary” author includes extensive figures and statistics, but is more successful in documenting the gritty realities of working life through literary means. The final chapter centres on Mass-Observation’s The Pub and the People (1943) whose obsessive recording of even the most minute details of pub life develops into a bizarre, almost surrealist work of literature. The order of my four chosen texts does not imply a sense of literary value but rather traces a trajectory from the least to the most radical experiments in documentary literature.</p>

Художній репортаж в українських друкованих та онлайн-ЗМІ (особливості розвитку жанру)

The article examines the concept of literary reportage and the specificity of its functioning in Ukrainian printed and electronic media, with particular emphasis on the differences between traditional and literary reportage. The basis of literary reportage is informativeness (fact). As in the process of preparing traditional reportage, the journalist collects facts, interrogates witnesses, works with documents and archives, examines the situation and the characters of the future text. Analyticality manifests itself here in the understanding of the received information, methods of describing the problem and searching for its solutions, conducting observations both „from the inside” and „from the outside”. In order to be as faithful as possible on the one hand, and to introduce an emotional color – on the other, reporters use literary means; it is the lexical and stylistic features that give the reportage originality. The aforementioned elements appear both in literary and traditional reportage, but in the first case they are more emphasized, and in the second – they are kept within the limits appropriate for news journalism. Thus, literary reportage is the genre that exists on the border of journalism and literature, accumulating the features of both. At the same time, it remains necessary to separate the concept of belles-lettres from literary reportage. In the contemporary Ukrainian media, the genre of literary reportage is just beginning to develop; the Internet and the blogosphere play an important role in this process, where its model realizations can be observed most often. A lot of literary reportages can be found, among others, on the websites of Gazeta.ua, INSIDER and Reporters. In the printed media, literary reportage appears relatively rarely, exceptions include trip stories written in the form of reportage (magazines „MANDRY”, „Ukrainian Week”, „Kraina”) or literary reports found in „Gazeta po Ukraińsku”. The small share of this genre in the Ukrainian media space is related to several reasons. In the case of literary reportage, the length of the texts varies, but most of them are long, which means that they do not always fit in with the traditional formats of the mass media. In addition, the preparation and writing of this type of material requires more time and – when the message quickly becomes outdated – it often turns out that it is no longer worth publishing. The Internet has significantly accelerated the pace of journalistic work, at the same time moving it to a different level of quality. Literary reportage is not an ordinary mass medium, it is journalism with literary elements, and as such it forces a specific type of reading. It requires time that the average Internet user, exposed to distracting temptations (advertising, spam, social messaging), often does not have. All this causes an intense transfer of reportage from the media space to the book space, where the audience is more formed and better prepared to accept this kind of journalistic and literary experiments. And so in Ukraine, since 2017, there has been a publishing house of reportage and documentary literature „Czowen” (Lviv). So far, it has published over 10 books on literary reportage, both by Ukrainian and foreign authors. Particularly noteworthy are the books from the Tempora publishing house, which has been organizing a literary reportage competition since 2012 and presenting the best examples of this genre in anthologies and in the form of individual publications.

Diplomasi Kiai Nahdlatul ‘Ulama (NU) Melalui Konferensi Ulama Internasional

As the largest religious organization, Nahdlatul Ulama has had an international role since its inception. One of these roles is realized through the holding of several international conferences. This article aims to explain the reasons of these conferences and to describe the activities and contributions to the world and especially towards Indonesian foreign policy. This qualitative research used documentary/ literature study in collecting data. The research found that ideational motivation related to the logic of appropriateness (the call) to spread the teachings of Islam rahmatan lil alamin was the reason for the establishment. The conferences gave positive contribution as religious epistemic community, in building network, and in the framework of Islamic and western relations. Towards Indonesian foreign policy, these conferences, firstly emphasized the washathiyah / moderate character of Indonesian Islam which has proven to be compatible with democracy and modernity. Secondly, the thoughts and recommendations generated are valuable inputs for policy makers. Thirdly, the ulama network also has sharpen Indonesia's diplomacy in area Indonesia foreign policy implementation. . Key Words: Diplomacy, Conference, Ideational Motivation, Cononstructivism, Contributioni.

Genre-style modifications of modern ukrainian documentary literature on Euromaidan and anti-terrorist operation (ATO)

The article is devoted to the problem of genre-style modifications of modern Ukrainian documentary literature on Euromaidan (2013−2014) and armed aggression of the Russian Federation against Ukraine (2014−2020). An example of the book “Chronicle of Eyewitnesses: Nine Months of Ukrainian Resistance” (2014, the author of the project — O. Zabuzhko, compiler — T. Teren) explores the content and form of the collective chronicle (eyewitnesses chronicle) genre. It is noted that the posts of 150 authors, placed on various Internet resources and selected for the book, are structured according to the logic of the development of the classic plot. The texts present a diverse range of images of Euromaidan participants. The description of the events is expressed by original artistic means and vivid emotions. Collection of essays «Point Zero» by Artem Cech represents the narrative of a writer who participated in the ATO in 2015−2016. It is a “self-portrait of the artist”, in which the author makes an objective analysis of his subjective war experience. Both books are a kind of objective artistic and emotional document of the era.