Counter Screens, Dr. Dana mustata, University of Groningen FIAT/IFTA
A pilot study done in collaboration with the European (Post)Socialist Television Studies Commission and funded by the FIAT/IFTA Television Studies Commission about digitization and online dissemination and the partly inaccessible television heritage from Eastern Europe.
Counter Screens, Dr. Dana mustata, University of Groningen FIAT/IFTA
A pilot study done in collaboration with the European (Post)Socialist Television Studies Commission and funded by the FIAT/IFTA Television Studies Commission about digitization and online dissemination and the partly inaccessible television heritage from Eastern Europe.
Resources from TV ReedT.V. ReedThe Art of Protest Culture an.docxsjennifer395
Resources from TV Reed:
T.V. Reed
The Art of Protest: Culture and Activism from the Civil Rights Movements to the Streets of Seattle.
University of Minnesota Press, 2005, 216 pp.
$US 24.95 paper (0-8166-3771-7), $US 74.95 hardcover (0-8166-3770-9)
In the past twenty years or so, students of social movements have rediscovered the importance of culture. European theorists of post-industrial movements (like Touraine or Melucci), whose works were translated into English in the 1980s, have helped to inspire researchers to rethink their commitment to mobilization and political process approaches through a rediscovery of culture. Even some theorists most associated with the mobilization paradigm (Gamson, Oberschall, McCarthy) have recognized the importance of culture in protest.
In The Art of Protest, T.V. Reed focuses on the dramatic actions of U.S. social movements. His book serves as an introduction to the movements, but also offers a new perspective. The author’s claims are modest, his goal being to reinterpret and synthesize elements already available in the large body of literature through cultural issues. By doing so, he challenges easy distinctions between culture and politics, and questions how culture works in and around movements. From “We shall overcome” to cyberculture, Reed pairs each movement with a defining cultural practice: singing with the Civil Rights movement, drama with the Black Panthers, poetry with Women’s Rights, murals with Chicano/a movements, movies with the American Indian Movement, rock music with actions against famine and apartheid, graphic arts with action against AIDS, literature with the environmental movement, and cyberculture with the Global Justice movement.
The book’s main focus is the civil rights movement, with music and religion as the forms of culture at its centre. Although measuring subjective change or a change in consciousness is a challenge, Reed believes that “freedom songs are one of the best records we have of the transformation of consciousness in the ordinary people, the masses, who took part in the movement” (p. 14). Yet music did not enter the movement spontaneously. A legacy had to be uncovered and reworked, sometimes with radical alterations, adding political content to the emotional content. “Three clusters of events
in particular are key to the rise of both the music and the movement: the Montgomery bus boycott, the student-led sit-ins, and the Albany, Georgia, movement” (p. 16). A musical group from Albany, the Freedom Singers, played a role in singing the movement’s story and raising funds through their concerts, thereby bringing the movement’s messages to the North and to young people while helping to create a network for the Freedom Summer of 1964. Freedom songs brought people together and became “litanies against fear” (p. 25). Music transformed the personal and collective identities of the
movement’s activists; it was not the only force shaping the movement’s identities, but it wa.
Resources from TV ReedT.V. ReedThe Art of Protest Culture an.docxaudeleypearl
Resources from TV Reed:
T.V. Reed
The Art of Protest: Culture and Activism from the Civil Rights Movements to the Streets of Seattle.
University of Minnesota Press, 2005, 216 pp.
$US 24.95 paper (0-8166-3771-7), $US 74.95 hardcover (0-8166-3770-9)
In the past twenty years or so, students of social movements have rediscovered the importance of culture. European theorists of post-industrial movements (like Touraine or Melucci), whose works were translated into English in the 1980s, have helped to inspire researchers to rethink their commitment to mobilization and political process approaches through a rediscovery of culture. Even some theorists most associated with the mobilization paradigm (Gamson, Oberschall, McCarthy) have recognized the importance of culture in protest.
In The Art of Protest, T.V. Reed focuses on the dramatic actions of U.S. social movements. His book serves as an introduction to the movements, but also offers a new perspective. The author’s claims are modest, his goal being to reinterpret and synthesize elements already available in the large body of literature through cultural issues. By doing so, he challenges easy distinctions between culture and politics, and questions how culture works in and around movements. From “We shall overcome” to cyberculture, Reed pairs each movement with a defining cultural practice: singing with the Civil Rights movement, drama with the Black Panthers, poetry with Women’s Rights, murals with Chicano/a movements, movies with the American Indian Movement, rock music with actions against famine and apartheid, graphic arts with action against AIDS, literature with the environmental movement, and cyberculture with the Global Justice movement.
The book’s main focus is the civil rights movement, with music and religion as the forms of culture at its centre. Although measuring subjective change or a change in consciousness is a challenge, Reed believes that “freedom songs are one of the best records we have of the transformation of consciousness in the ordinary people, the masses, who took part in the movement” (p. 14). Yet music did not enter the movement spontaneously. A legacy had to be uncovered and reworked, sometimes with radical alterations, adding political content to the emotional content. “Three clusters of events
in particular are key to the rise of both the music and the movement: the Montgomery bus boycott, the student-led sit-ins, and the Albany, Georgia, movement” (p. 16). A musical group from Albany, the Freedom Singers, played a role in singing the movement’s story and raising funds through their concerts, thereby bringing the movement’s messages to the North and to young people while helping to create a network for the Freedom Summer of 1964. Freedom songs brought people together and became “litanies against fear” (p. 25). Music transformed the personal and collective identities of the
movement’s activists; it was not the only force shaping the movement’s identities, but it wa ...
(2014) History in Canadian High Schools: The Revival of an Endangered Subject...K-12 STUDY CANADA
2014 NCSS Conference presentation by Dr. Paul Bennett (Saint Mary’s University, Halifax, NS)
For supplementary notes on this presentation, see (2014) Supplementary Notes for Dr. Bennett’s PowerPoint Presentation – 11/2014 under the Documents tab.
Resources from TV ReedT.V. ReedThe Art of Protest Culture an.docxsjennifer395
Resources from TV Reed:
T.V. Reed
The Art of Protest: Culture and Activism from the Civil Rights Movements to the Streets of Seattle.
University of Minnesota Press, 2005, 216 pp.
$US 24.95 paper (0-8166-3771-7), $US 74.95 hardcover (0-8166-3770-9)
In the past twenty years or so, students of social movements have rediscovered the importance of culture. European theorists of post-industrial movements (like Touraine or Melucci), whose works were translated into English in the 1980s, have helped to inspire researchers to rethink their commitment to mobilization and political process approaches through a rediscovery of culture. Even some theorists most associated with the mobilization paradigm (Gamson, Oberschall, McCarthy) have recognized the importance of culture in protest.
In The Art of Protest, T.V. Reed focuses on the dramatic actions of U.S. social movements. His book serves as an introduction to the movements, but also offers a new perspective. The author’s claims are modest, his goal being to reinterpret and synthesize elements already available in the large body of literature through cultural issues. By doing so, he challenges easy distinctions between culture and politics, and questions how culture works in and around movements. From “We shall overcome” to cyberculture, Reed pairs each movement with a defining cultural practice: singing with the Civil Rights movement, drama with the Black Panthers, poetry with Women’s Rights, murals with Chicano/a movements, movies with the American Indian Movement, rock music with actions against famine and apartheid, graphic arts with action against AIDS, literature with the environmental movement, and cyberculture with the Global Justice movement.
The book’s main focus is the civil rights movement, with music and religion as the forms of culture at its centre. Although measuring subjective change or a change in consciousness is a challenge, Reed believes that “freedom songs are one of the best records we have of the transformation of consciousness in the ordinary people, the masses, who took part in the movement” (p. 14). Yet music did not enter the movement spontaneously. A legacy had to be uncovered and reworked, sometimes with radical alterations, adding political content to the emotional content. “Three clusters of events
in particular are key to the rise of both the music and the movement: the Montgomery bus boycott, the student-led sit-ins, and the Albany, Georgia, movement” (p. 16). A musical group from Albany, the Freedom Singers, played a role in singing the movement’s story and raising funds through their concerts, thereby bringing the movement’s messages to the North and to young people while helping to create a network for the Freedom Summer of 1964. Freedom songs brought people together and became “litanies against fear” (p. 25). Music transformed the personal and collective identities of the
movement’s activists; it was not the only force shaping the movement’s identities, but it wa.
Resources from TV ReedT.V. ReedThe Art of Protest Culture an.docxaudeleypearl
Resources from TV Reed:
T.V. Reed
The Art of Protest: Culture and Activism from the Civil Rights Movements to the Streets of Seattle.
University of Minnesota Press, 2005, 216 pp.
$US 24.95 paper (0-8166-3771-7), $US 74.95 hardcover (0-8166-3770-9)
In the past twenty years or so, students of social movements have rediscovered the importance of culture. European theorists of post-industrial movements (like Touraine or Melucci), whose works were translated into English in the 1980s, have helped to inspire researchers to rethink their commitment to mobilization and political process approaches through a rediscovery of culture. Even some theorists most associated with the mobilization paradigm (Gamson, Oberschall, McCarthy) have recognized the importance of culture in protest.
In The Art of Protest, T.V. Reed focuses on the dramatic actions of U.S. social movements. His book serves as an introduction to the movements, but also offers a new perspective. The author’s claims are modest, his goal being to reinterpret and synthesize elements already available in the large body of literature through cultural issues. By doing so, he challenges easy distinctions between culture and politics, and questions how culture works in and around movements. From “We shall overcome” to cyberculture, Reed pairs each movement with a defining cultural practice: singing with the Civil Rights movement, drama with the Black Panthers, poetry with Women’s Rights, murals with Chicano/a movements, movies with the American Indian Movement, rock music with actions against famine and apartheid, graphic arts with action against AIDS, literature with the environmental movement, and cyberculture with the Global Justice movement.
The book’s main focus is the civil rights movement, with music and religion as the forms of culture at its centre. Although measuring subjective change or a change in consciousness is a challenge, Reed believes that “freedom songs are one of the best records we have of the transformation of consciousness in the ordinary people, the masses, who took part in the movement” (p. 14). Yet music did not enter the movement spontaneously. A legacy had to be uncovered and reworked, sometimes with radical alterations, adding political content to the emotional content. “Three clusters of events
in particular are key to the rise of both the music and the movement: the Montgomery bus boycott, the student-led sit-ins, and the Albany, Georgia, movement” (p. 16). A musical group from Albany, the Freedom Singers, played a role in singing the movement’s story and raising funds through their concerts, thereby bringing the movement’s messages to the North and to young people while helping to create a network for the Freedom Summer of 1964. Freedom songs brought people together and became “litanies against fear” (p. 25). Music transformed the personal and collective identities of the
movement’s activists; it was not the only force shaping the movement’s identities, but it wa ...
(2014) History in Canadian High Schools: The Revival of an Endangered Subject...K-12 STUDY CANADA
2014 NCSS Conference presentation by Dr. Paul Bennett (Saint Mary’s University, Halifax, NS)
For supplementary notes on this presentation, see (2014) Supplementary Notes for Dr. Bennett’s PowerPoint Presentation – 11/2014 under the Documents tab.
Egy oktatási "reform" előkészítése: Politikai döntéshozatal Magyarországon 19...Lajos Somogyvári
Előadásom az 1961. évi III. oktatási törvény előtörténetét, a korban reformként definiált átalakítások hátterét kívánja megvilágítani: a vizsgálat kezdő időpontját a Gyakorlati foglalkozások tantárgyának bevezetése jelenti (1958. február-március), lezárását pedig az Irányelvek megjelenése (1960. szeptember), mely a közélet előterébe helyezte a kérdést. A nyilvánosság által megismerhető dokumentumok egységes állásfoglalást tükröztek, a pártvezetés és az ideológia által markánsan meghatározott, kinyilatkoztatáshoz hasonló szövegek semmit sem árultak el a döntéshozatal folyamatáról. Célom a szereplők eltérő érveinek bemutatása, mely rejtve maradt a korban, az ellenőrzött és szimulált társadalmi vita ellenére is.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Commemoration, Propaganda and Political Indoctrination: Celebrating 1th of May in early 1950's Hungaryg
1. Commemoration, Propaganda and Political Indoctrination
Celebrating 1th of May in early 1950s’ Hungary
• Time (May 1st), Space (Stalin Square) and Power
• The communist system as a propaganda state: mass mobilisation,
primacy of the ideology (Kenez, 1985)
• Festivals, parades and processions: cultural and political practices,
rites, images and symbols; mandatory participation and common
identity; occupying the streets (Geldern, 1993; Rolf, 2013)
• Propaganda images (Dussel, 2018) construct their own reality:
socialist spaces (Crowley – Reid, 2002) and imagery
• Characteristics: actors, installations, statues – „theatre of display”
(Priem & Thyssen, 2013)
• Extension of the educational governance (Grosvenor & Rasmussen,
2018) through organising celebrations – related both to the adults
and children (see the term of the paternalist state: Pinfold, 2011)
1st May, 1955 (Source: Fortepan 84062)
„The (Communist) Party targets (…) to mobilise
the youth more intensively in building socialism
(…) this goals can be achieved only under direct
Party control…” (3rd May, 1950, Decree of the
Secretariat of Hungarian Workers’ Party)
Hungarian and Korean pioneers marching together. 1st May,
1952. The title on the table: Perish the imperialist mass
murderers, who spread plague and cholera! (Source: Szabad
Nép, People’s Freedom, 3 May, 1952, 3.)
The Grandstand of the celebration: the political representation, leaders of the country. The title is:
Our nation’s great and unified protest for peace, work, prosperity and progression.
(Source: Szabad Nép, People’s Freedom, 2 May, 1953, 1.)
In front of the Stalin Statue. (Source: Köznevelés,
Public Education, Cover, 1 May, 1953)
REFERENCES:
Crowley, David & Reid, Susan E.: Socialist Spaces: Sites of Everyday Life in the Eastern Bloc. Oxford-New York
(2002).
Dussel, Inés: Truth in Propagandistic Images. Reflections of an Enigmatic Corpus (Westerbork, 1944). Historia y
Memoria de la Educación, (2018): 8. 59–95.
Geldern, James von: Bolshevik Festivals, 1917–1920. Berkeley – Los Angeles – Oxford (1993).
Grosvenor, Ian & Rasmussen, Lisa Rosén: Making Education: Material School Design and Educational Governance.
Sprinegr (2018).
Kenez, Peter: The birth of the propaganda state. Soviet methods of mass mobilization, 1917–1929. Cambridge
(1985).
Pinfold, Debbie: ’Das Mündel will Vormund Sein’: The GDR State as Child. German Life and Letters, 64. (2011): 2.
283–304.
Priem, Karen & Thyssen, Geert (2013): Puppets on a string in a theatre of display? Paedagogica Historica, (2013):
6. 828-845.
Rolf, Malte: Soviet Mass Festivals, 1917–1991. Pittsburgh, PA (2013).
Lajos Somogyvári PhD., University of Pannonia, Hungary,
Veszprém (From propaganda to resistance. International
Seminar, 2-4 May, 2019, University of Vic, Spain)