Students’ perception of privacy risks in using social networking sites for learning: a study of Uganda Christian University

Although social networking sites (SNSs) present a great deal of opportunities to support learning, the privacy risk is perceived by learners as a friction point that affects their full use for learning. Privacy risks in SNSs can be divided into risks that are posed by the SNS provider itself and risks that result from user’s social interactions. Using an online survey questionnaire, this study explored the students’ perception of the benefits in using social networking sites for learning purposes and their perceived privacy risks. A sample of 214 students from Uganda Christian University in Africa was studied. The results show that although 88 % of participants indicated the usefulness of SNSs for learning, they are also aware of the risks associated with these sites. Most of the participants are concerned with privacy risks such as identity theft, cyber bullying, and impersonation that might influence their online learning participation in SNSs.

The rise and fall of Benedetto Croce: intellectual positionings in the Italian cultural field 1944-1947

This article evaluates the discourse developed around Benedetto Croce in the Italian cultural periodical press between 1944 and 1947 and it discusses the forms of adversarial discourse and the agents involved in the anti-Croce polemics that unfolded in the Communist party’s official cultural journal Rinascita. Specifically, this article focuses on a selection of intellectuals who moved away from Crocean idealism to embrace Marxism in order to investigate how their conversion was presented in Rinascita.

Muriel Rukeyser: poetry and the body

The human body occupies a central place in Rukeyser’s poetry. Her characters’ physical experiences inspire their search for an artistic form and a holistic vision that reconciles the corporeal and conceptual aspects of their life. My thesis deals with Rukeyser’s reconciliation of disparate aspects of existence through the image of the human body and the practical experiences she underwent in her personal life and incorporated in her poetry. I discuss her poetry of the 1940s, where a tension is observed between the artist’s personal life and her art, which she attempts to resolve by adopting an artistic form that accommodates her quotidian experiences. I study, mainly through her poetry of the 1950s, Rukeyser’s poetic technique in the light of her organicist poetics and the combination of tendencies to coercion and suggestiveness distinguishing her style. I examine her portrayal of the suffering body in her poetry of the 1960s and 1970s. By means of their physical experiences, the ill, her despised and the imprisoned protagonists undergo a process of development whereby they perceive the different aspects of their identity and attempt to broaden perspectives on their situation by reconciling them. I argue that Rukeyser’s engagement with physical encounters and with the poem as an inclusive, organic body enables her to reconcile disparate elements in her poetry, such as her personal life and her art, her individual existence and the public world, as well as the distinct aspects of her characters’ identity. Her vatic outlook, which integrates distinct aspects of experience, is consistent with Merleau-Ponty’s idea of human perception as characterised by the two interdependent positions of immanence and transcendence. Rukeyser’s poetry depicts her physical engagement with quotidian events of her life as a factor of artistic inspiration. These situations constitute shared human experiences that enable her to imagine the links binding her to other people and the world at large. The poet’s personal experiences inspire her search for an artistic form that accommodates them. Her perception of the concrete aspect of her individual existence gains significance when it is linked to social and political issues. Both the private and public are thus seen as interconnected, and they affect the existence of each other while retaining their distinctness.

The “Great Queen of Lightninge Flashes”: the transmission of female-voiced burlesque poetry in the early seventeenth century

The essay uncovers evidence for the construction of the ‘woman author’ in the largely male vogue for bawdy burlesque poetry by tracing the circulation of a pair of verses through seventeenth-century manuscript and print miscellanies. It argues that just as these verses are reworked and recontextualised through the process of transmission, so to their ‘authors’ are re-embodied and ascribed different identities in different publication contexts. Female-voiced bawdy poetry raises particular problems for authorial attribution, rather than searching for the real woman behind the text, the essay examines how the ‘authors’ of female-voiced bawdy poetry were produced and reproduced through shifting formal frameworks and socioliterary networks.