Increasingly, reenacted representations of historical figures can be found on social media aiming to make the past more tangible. Here, producers employ a first-person perspective which is known for ...fostering the experience of parasocial interaction (PSI). Following the assumption that social interactions promote the development of empathy and moral orientation, we ask whether continuous PSI with a historical person on Instagram affects the followers’ empathy and moral orientation as it offers novel, unique insights into the past. We conducted a longitudinal investigation with two measurement time points ( N t1 = 239; N t ₂ = 89) asking actual followers of a German historical Instagram account (@ichbinsophiescholl) about their interaction with the historical figure on Instagram, empathy, and moral orientation. In line with the assumption, results showed that the followers’ interaction (e.g., liking, commenting) with the historical figure was positively related to the experience of PSI. Furthermore, we found positive relationships between PSI and empathy, as well as moral orientation. The long-term analysis indicated that following a historical figure over time can affect the followers’ empathy when frequently interacting. (PsycInfo Database Record (c) 2023 APA, all rights reserved) (Source: journal abstract)
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The research was conducted during history learning activity in Year 11 Social 3 (Ilmu Pengetahuan Sosial 3) Santo Fransiskus Asisi Senior High School (a school with Catholic characteristic) on ...April-June 2018. In some opportunities, this research also included Mujahidin Senior High School (a school with Islamic characteristic). This research used action research methodology with Kemmis & Taggart model. The analysis of data used constructivism learning theories and symbolic interaction theories. This research discusses about various cultural stereotypes which are thriving in West Kalimantan, especially Pontianak. Obstacles in social interaction because of stereotypes among various cultural groups are one of challenges in 21st century that is related to cultural intelligence. First-person historical presentation as one of history education methods is developed in this research. Students involved in this research would be enriched in not only their knowledge, but also their empathy toward various cultural groups. So, this learning is successful in growing students’ cultural intelligence, as can be seen their empathic attitudes and accepting the difference among those various groups. Penelitian ini dilakukan pada pembelajaran sejarah di kelas 11 Ilmu Pengetahuan Sosial (IPS) 3 SMA Santo Fransiskus Asisi Pontianak (sekolah berciri khas Katolik), pada bulan April-Juni 2018. Pada beberapa kesempatan penelitian ini juga melibatkan SMA Mujahidin Pontianak (sekolah berciri khas Islam). Penelitian ini menggunakan metode penelitian tindakan dengan model Kemmis & Taggart. Analisis data menggunakan teori-teori pembelajaran konstruktivis dan teori interaksi simbolis. Penelitian ini membahas berbagai stereotipe kebudayaan yang berkembang di Kalimantan Barat, khususnya di Kota Pontianak. Hambatan-hambatan di dalam pergaulan sosial karena stereotipe antara berbagai kelompok kebudayaan merupakan salah satu tantangan di abad ke-21 yaitu berkaitan dengan kecerdasan budaya. First-person historical presentation sebagai salah satu metode pendidikan sejarah dikembangkan di dalam penelitian ini. Peserta didik yang terlibat di dalam pendekatan ini akan diperkaya tidak hanya pengetahuan mereka, tetapi juga empati mereka terhadap berbagai kelompok kebudayaan. Dengan demikian pembelajaran ini berhasil menumbuhkan kecerdasan budaya peserta didik. Seperti tampak pada sikap-sikap berempati dan menerima perbedaan di antara beragam kelompok tersebut.
The military played a pivotal role in the political development, state functions, foreign policy and the daily lives of the people in the Central Asian states from the early twentieth century until ...the present. This book is the first major, in-depth study of the military institutions in Central Asian states. It examines their hidden story, the different stages of their development from the early twentieth century until the present, and the influence they had on the state and society. It effectively combines history, sociology of the military and political science and provides deeper insights into how recently formed states function. By concentrating extensively on the military, this book is an important and a timely contribution to a wide range of disciplines including Central Asian studies, and post-colonial state and nation-building studies.
Acting Alone: A Scientific Study of American Hegemony and Unilateral Use-of-Force Decision Making is a straight-forward analysis of unilateral U.S. military actions, which are dependent upon the ...power disparity between the U.S. and the rest of the world. In solving the puzzle as to why individual presidents have made the 'wrong' decision to act alone, the author lays out a president's behavior, during a crisis, as a two-step decision process. Acting Alone reviews the well-studied first decision, deciding to use force, based on international conflict literature and organized along traditional lines. The author then details the second decision, deciding to use unilateral force, with an explanation of the criticisms of multilateralism and the reasons for unilateralism. To test a new theory of unilateral use of force decision making, Acting Alone devises a definition and coding rules for unilateral use of force, develops a sequential model of presidential use of force decision making, and constructs a new, alternative measure of military power, a Composite Indicator of Military Revolutions (CIMR). It then uses three methods - a statistical test with a heckman probit model, an experiment, and case studies - to test U.S. crisis behavior since 1937. By applying these three methods, the author finds that presidents are realists and make expected utility calculations to act unilaterally or multilaterally after their decision to use force. The unilateral decision, in particular, positively correlates with a wide military gap with an opponent, an opponent located in the Western hemisphere, and a national security threat.
This chapter examines historical presentational practices of sound film and, specifically, the extra music added to roadshow versions of films between the 1930s and 1960s—including Gone with the ...Wind, West Side Story, It’s a Mad Mad Mad Mad World, and 2001: A Space Odyssey. It argues that such added music—which included overtures, intermission, entr’acte, and exit music—when combined with controlled theatrical lighting and use of the curtain, might have prompted a number of different cinematic listening experiences among audiences. It suggests that an understanding of these historical presentational practices might call into question comfortable assumptions about the nature of sound-film ontology and the relationship between cinema as “Text” and cinema as “Event”—issues that resonate with the discourse surrounding historically informed performance (HIP) practice in musicology.
America as empire Garrison, Jim; Garrison, Jim
2004., 2004, 2004-01-09, 2004-01-01
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In America as Empire, Jim Garrison urges us to face up to the complexities and responsibilities inherent in the indisputable fact that America is now the world's single preeminent power. "America", ...Garrison writes, "has become what it was founded not to be: established as a haven for those fleeing the abuse of power, it has attained and now wields near absolute power. It has become an empire."Garrison traces the roots of the American empire to the very beginnings of the republic, in particular to the historic willingness of United States' to use military might in the defense of two consistent --- if sometimes contradictory --- foreign policy objectives: protection of American commercial interests and promotion of democracy.How long can the American empire last? Garrison looks at American history within the context of the rise and fall of empires and argues that the U. S. can gain important insights into durability from the Romans. He details the interplay between military power, political institutions, and legal structures that enabled the Roman empire at it's apogee to last for longer than America has as a country.But the real question is, what kind of empire can and should America be? As the sole superpower, America must lead in shaping a new global order, just as after World War II Roosevelt and Truman took the lead in shaping a new international order. That international order is now crumbling under the pressures of globalization, persistent poverty, terrorism and fundamentalism. Garrison outlines the kinds of cooperative global structures America must promote if its empire is to leave a lasting legacy of greatness. Garrison calls for Americans to consciously see themselves as a transitional empire, one whose task is not to dominate but to catalyze the next generation of global governance mechanisms that would make obsolete the need for
empire. If this is done, America could be the final empire.
Talle naslaanwerke vir die literatuurwetenskap (o.a. Van Gorp 1991:180; Cloete 1992:129, 442; Cuddon 1998:383; Abrams 2005:201) omskryf historiese romans as narratiewe tekste wat kreatief omgaan met ...gebeurtenisse uit die geskiedenis, meestal met die bedoeling om 'n bepaalde tydperk uit die verlede voor die gees te roep, en sê ook dat hierdie tekste gewoonlik fiksionele en/of historiese karakters in verifieerbare historiese omstandighede plaas. Verder poog historiese romans, volgens hierdie naslaanbronne, om die Zeitgeist, politieke gebeure en sosiale omstandighede van 'n spesifieke tydperk, asook die impak daarvan op 'n individu of groep mense, in realistiese besonderhede uit te beeld. Alhoewel dié omskrywing juis is, gaan dit by die geskiedkundige roman oor veel meer as net die oproep van 'n vergange era en die uitbeelding van persone uit 'n spesifieke tydvak. Historiese romans is nie net die herwinning van die verlede nie, maar ook 'n medium waardeur 'n historiese bewussyn by die eietydse leser geskep word om sodoende sin te maak van die hede. Tweedens kan die skryf én lees van historiese romans 'n strategie wees om traumatiese geskiedenis te verwerk en om 'n mens se medepligtigheid in 'n sekere stuk geskiedenis te erken. Derdens is die oproep van die verlede 'n soeke en bevestiging van 'n persoon se identiteit omdat 'n mens met die lees van sulke tekste jou eie plek in die geskiedenis oorweeg en heroorweeg. Vierdens kan die kreatiewe historiografie dien as 'n middel om geskiedkundige feite wat in formele geskiedskrywings verdraai of verswyg is, reg te stel en openbaar te maak. In die vyfde plek kan geskiedkundige romans poog om aspekte (woordeskat, persone, gebeure, gewoontes, ens.) wat dreig om in die vergetelheid te verdwyn, te argiveer. Die vraag waarom eietydse lesers én skrywers hulle met die geskiedenis bemoei, word in hierdie artikel beantwoord deur die funksies van historiese romans aan die hand van drie geskiedkundige romans met die Anglo-Boereoorlog as tema te ondersoek, naamlik Ingrid Winterbach se Niggie (2002), P.G. du Plessis se Fees van die ongenooides (2008) en Sonja Loots se Sirkusboere (2011a). The value of historical fiction : three historical novels reviewed The question why contemporary writers of fiction concern themselves with history is answered in this article by investigating the importance of historical fiction by means of analysing three prominent Afrikaans historical novels about the Anglo-Boer War: Ingrid Winterbach's Niggie (To hell with Cronjé), P.G. du Plessis's Fees van die ongenooides (Feast of the uninvited) and Sonja Loots's Sirkusboere (Circus Boers). Literary critics distinguish between historical writing or historiography on the one hand and historical fiction on the other. Historiography is considered to be the scientific recording of history, while historical fiction is seen as the creative adaptation of historical material. It became evident from this study, however, that historical truth and literary truth need not be opposing entities, but could rather be seen as complementing each other. It is not only history-as-science which plays an important part in ensuring the future of our past, but also literature. The study of literary works can indeed be of great value in our understanding of history. Literary theorists (e.g. Van Gorp 1991:180; Cloete 1992:129, 442; Cuddon 1998:383; Abrams 2005:201) define the historical novel as a form of fictional narrative which reconstructs history and recreates it imaginatively by either portraying a single historical event or depicting a broader view of a past society in which great events are reflected by their impact on the lives of individuals. Although this definition is accurate, historical fiction has far greater significance than the mere evocation of a past age and its people. This genre is not a regurgitation of history, but a medium through which a historical consciousness is created in the contemporary reader to make sense of present circumstances. The writing and reading of historical narratives can also be a strategy to process traumatic history and to admit one's complicity in a certain part of (unfavourable) history. The fictional recapturing of history is, furthermore, a search for and confirmation of a person's identity because with the reading of these texts one tends to consider and reconsider one's own place in history. Creative historiography can also serve as a means to rectify distorted facts and reveal concealed history. In addition, historical novels attempt to archive disappearing (often archaic) expressions, vocabulary, folklore, traditions, folk songs, customs and even forgotten historical figures.
Although theatrical representations of the past have been examined by theatre and performance studies scholars, public historians have preferred to focus on historical re-enactments in living history ...sites, museums, or on film and television. This article argues that theatre is a compelling site for representing and understanding the past through a case study of one of the most performed plays in recent Canadian repertoire, Vern Theissen'sVimy.Drawing on a survey of audience members and the author's experiences as an academic historian working with a national theatre company, it proposes ways in which further study and practice can illuminate our understanding of the public and its pasts.
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