63 resultados para Historical and dialectical materialism


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In Victoria, Australia, the curriculum framework for schools, Victorian Essential Learning Standards (VELS) stipulates multiculturalism as an integral part of the education of students. This encompasses knowledge, skills, values and behaviours (Victorian Curriculum Assessment Authority, 2009). In this curriculum framework, teachers must consider ‘intercultural understanding’. It seems logical that, to teach this, preservice teacher education students should be able to embrace this idea. VELS addresses multicultural understanding and the development of thinking skills. The Arts domain specifically provides diverse opportunities for students to “develop aesthetic and critical awareness … of arts works from different social, historical and cultural contexts”. In this research, undertaken between 2005 and 2008, semi-structured interviews were completed with final year pre-service music education students about their intercultural understandings in music education. Interpretative phenomenological analysis of the data showed that, although many feel confident including music of other cultures, having had some experience in their tertiary education, some have pursued other ways to inform themselves about music of other cultures. There appears to be a mismatch between curricular expectations and the limited time and resources available in tertiary education programs for music. The disparity between the school music curriculum framework and the preparation of teachers requires attention and resolution.

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The thesis examines the life and times of former union organiser and Tasmanian ALP Premier, Eric Reece. It analyses the historical and biographical forces shaping state Labor politics in twentieth century Australia and investigates the ideologies of development, progress and environmentalism in Tasmania.

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This investigation emphasises the significant role socio-cultural considerations play in Australia's education sector initiatives in the Middle East, and the direct impact this has on wider Australian-Middle Eastern trade and strategic relations. In order to enhance these relations, there is an urgent need for Australia to develop a more sophisticated policy of engagement that moves away from historical and contemporary misconceptions.

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The cultural landscape of George Town, Penang, Malaysia, embraces the historic enclave of George Town as well as a range of other significant colonial vestiges adjacent to the entrépôt. Many of these landscapes cannot be isolated from the énclave as they are integral to and part of its cultural mosaic and character. Perhaps the most important are the Penang Hill hill-station landscape and the 'Waterfall‘ Botanic Gardens. The latter is an under-valued 'garden of the empire‘—a garden that significantly underpinned the development and historical and botanical stature of the Singapore Botanic Gardens.This paper reviews the cultural significance of colonial botanic gardens as they were established around the world during the scientific explosion of the late 1800s. It addresses their position within World Heritage listings, and considers the role, significance and importance of the 'Waterfall‘ Botanic Gardens within this context, within the concept of 'cultural landscapes‘, and critiques its absence from the recent World Heritage Listing of the colonial enclaves of Georgetown and Meleka in Malaysia.

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Throughout the coverage of Iraq since the Iran-Iraq War of the 1980s and especially since September 11, the Western mainstream Media have eschewed key historical and contextual data about Iraq, thereby serving to reduce and homogenize the complexity of the issues surrounding the region and the conflicts therein. In so doing, the media has tended towards Orientalism (Said, 1978) by trivialising Iraq and its people and thereby reinforcing the hegemony of the West over the ‘backward, barbaric’ East. Building on earlier research (Isakhan, 2005a), this paper further examines the reductive and homogenising reporting of Iraq in the Western media by using both quantitative and qualitative assessment methods to compare and contrast the discursive practices used to construct the Iraqi election of December 15, 2005 in Australia’s leading daily newspapers with newspapers from the Middle East. In essence, it finds that while the Australian media propagates Orientalism through its one-eyed coverage, the Middle Eastern papers are more contemplative, focusing on the impact that this election could have throughout the region.

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Fijian bodies have become a valuable commodity in the economy of war. Remittances from workers overseas are Fiji’s largest income – exceeding that of tourism and sugar export. This essay examines historical and contemporary representations of the black male body that perpetuate the exploitation of Fijians by inscribing the Fijian male body as warrior, criminal and protector. Taking a multidisciplinary approach informed by sociology, cultural theory, Pacific studies, visual culture, feminist and post-colonial theory, my practice is the vehicle through which I address issues of neocolonial commodification of Fijian bodies. Through an analysis of my own staged photographs and vernacular images taken by Fijians working for private security military companies and British and US armies, I hope to challenge audiences to consider their own perceptions of Fijian agency and subjectivity. By theorising the politicisation of the black body and interrogating colonial representations of blackness, I argue that we can begin to create links between the historical and contemporary exploitation of Fijians and that at the essence of both is an underlying racial hierarchy and economic requirement for cheap and, arguably, expendable labour.

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Racial Cartoons are a powerful force disguised as entertainment operating to shape public opinion. During the 1980s, 1990s and after 9/11 in 2001, cartoons in the Australian press were particularly directed against Muslim and Christian Arabs without remorse or fear of redress or accountability. The offensive of such cartoons has essentially been directed on three fronts—oil, politics and religion. The drawback resulting from socio-cultural, historical and other differences are no doubt visible; but equally obvious is that anti-Semitism, which was directed against the Jews in the 1930s and 1940s, is today mostly directed against the public relations deprived, opinion silenced and undemocratically governed, ethnically diverse Arabs. It is argued in this paper that several forces were behind such distorted visual strategies adopted by the Australian press. Pre-judgement stemming from an inbuilt bias of the cartoonist, or highlighting characteristics which conform to the national interest are likely factors. The debate in Australia as to whether public images and attitudes of a minority “cause” or “determine” policy or whether policy itself changes attitudes is still resting with the jury.

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Photography, normally considered a prosaic medium, is considered in this paper as a synthesises of the processes of human seeing, to develop an aesthetic, a poetics of space. The initial element of invention in my investigation was to devise the means by which the process of binocular perception might be depicted. Once the vortex form emerged from that experimentation, and I had the experience to predict the generation of affect, it became possible to manipulate it purposefully in seeking a solution to the problem of the portrait in the landscape.

This paper outlines a practice as research investigation into the construction and representation of the figure and the ground in photography through overlapping multiple temporal and spatial renderings of the same subject within single photographic images.

This included a critical investigation of the representation of time, perspective, and location in historical and contemporary photography with particular attention to the synthesis, imitation, and distinction of characteristics of human vision in this medium especially where they are indicative of consciousness and attention.

This investigation informed a re-evaluation of the premises of the genre of the photographic portrait and it’s setting, especially within the unstructured environment of the Central Victorian ironbark forests and goldfields. Analogue and digital photographic experiments were conducted in superimposed shifts in camera position and their convergence on significant points of focus through repeated exposures across different time scales. The images correspond to a stage in human stereo perception before fusion, to represent the attention of the viewer, where, in these images, the ‘portrait’ is located.

The findings were applied to the large format camera production of high-definition images that extended the range and effectiveness of selected pictorial structures such as selective focus, relative scale, superimposition, multiple exposures and interference patterns.

The outcome was an exhibition at Smrynios Gallery in Melbourne in April 2004. This presentation includes a discussion of relevant work by Australian practitioners Daniel Crooks and David Stephenson.

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The arena of ethics and business is a colossus: thousands of books, multiple dedicated journals, de rigueur organizational ethics policies and CSR initiatives - most of which we can be fairly confident would receive poor reviews by the editors and authors of Ethics and organizational practice: Questioning the moral foundations of management. This edited collection is a self-identified ‘critical’ take on business ethics, one that according to the editors’ introduction wishes to ‘expose business ethics to its crises’ and ‘critically investigate(s) what ethics means’. The ‘critical’ which Muhr, Sørensen and Vallentin invoke is one that would be familiar to authors and readers of Critical Management Studies – that is, to use Fournier and Grey’s (2000) oft-referenced depiction, the study of management and organization that is non-performative with regards to managerialist concerns of efficiency and profitability, that seeks to denaturalize taken-for-granted legitimations, and the normalization of current organizational practices and ideologies, and one which demonstrates significant reflexivity with regard to the philosophies and methodologies it deploys. To the above, we may also add pluralism, and indeed some playfulness, with a wide diversity of conceptual, theoretical, historical and popular sources mined for their potential to help us reconsider the organizational present.

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Chinese urban historic districts retain abundant urban traditional features, local characteristics and historic architecture. They not only gather and display urban cultural heritage but extend and develop urban historic culture and social traditions. In 1964 the “Venice Charter” expanded the concept and scope of historical and cultural heritage conservation from individual building heritage, historical sites comprising heritage buildings and historical environments to whole historic districts. At the same time, authenticity was adopted as a principle of heritage conservation. In 1994 the Nara Document on Authenticity confirmed that authenticity is of great importance to the conservation of cultural heritage. In 2003, “The Hoi An Declaration on Conservation of Historic Districts of Asia” reinforced the significance, integrity and authenticity of historic district conservation. In China, with the accelerated urbanization process and improved living conditions of urban residents, the unique values and historic and cultural heritage of historic districts is being destroyed. Considerable historic and cultural heritage has been reconstructed, leading to the loss of authenticity of these historic districts. This paper provides an overview of the Chinese situation. It highlights the problems and demonstrates a clear need to protect the authenticity of these historic districts. Authenticty is evaluated against various Chinese conservation of historic districts having regard to international experience and methods. As a result, it will be demonstrated that conservation modes of authenticity of urban historic districts in China and historic resources should be employed to ensure: 1) the restoration and conservation of historic architecture; 2) the preservation and renovation of old spaces and structures; 3) the integration and coordination of historic and new buildings; and the 4) the continuation and succession of historic culture and local tradition.

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In July 2004 the Budj Bim National Heritage Landscape was inscribed onto the National Heritage List. The place accorded with the criterion of A. Events, Processes (in demonstrating a place of Indigenous-European colonization conflict), B. Rarity (in demonstrating the context, historical and philosophy of benevolence of Governments to Indigenous people), F. Creative or technical achievement (in demonstrating technical accomplishment in construction the system), and, I. Indigenous tradition (in demonstrating longevity and continuity of cultural practices). Such affords Budj Bim, that hosts a unique Indigenous water harvesting and aquaculture infrastructure system dating some 7,000-10,000 years within a country that the Gunditjmara have managed for some 20,000-50,000 years, national standing. Within the lands gazetted is a complex and multi-faceted system that would today be categorised as a major integrated landscape planning and catchment management scheme that includes demonstrable major site engineering, hydraulic engineering, and aquaculture and water management scientific evidence and process knowledge and application.

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This study explicates the coconstitutive relationships between commercial myth- making and popular memory that arise through myth market competitions for identity value. We develop a genealogical analysis of the representational strategies and ideological rationales that two prominent New South mythmakers use to shape popular memories in relation to their competitive goals and to efface counter- memories that contradict their mythologized representations. We then derive a conceptual model that highlights competitive, historical, and ideological influences on commercial mythmaking and their transformative effects on popular memory, which have not been addressed by prior theorizations of the meaning transfer process.

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This paper engages with the notion of interspace by examining an understudied and unpublished cycle of mosaics and frescoes destined for the main hall of the Palazzo dei Congressi in Rome’s south-western suburb of EUR, a major building project by Roman architect Adalberto Libera. It first provides a socio-historical and aesthetic background to the building of EUR as Rome’s international exposition of 1942, which aimed to celebrate the achievements of Italian (and fascist) civilisation. It then focuses on the concept of Romanità (or Roman-ness) as a mythical and idealised past that was engaged on a number of levels as a teleological foundation for the advent (and eternity) of fascist rule. This past was adopted, interpreted and made manifest at the urban scale in the master plan of EUR, at the architectural scale in the buildings and at the interior scale in the decorative programs incorporated in each. It argues that the Palazzo dei Congressi allows us to gain further insight into the notion of interspace as it exemplifies this on a number of physical, symbolic and temporal levels. Physically, in the urban space, architectural form and interiors; symbolically, in the content and compositional layout of the mosaics; and temporally, in the use of historical elision and conflation between mythical pasts and idealised present.

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The article examines the relevance of mathematics and science to story. It aimed to explore how mathematics and science teachers experienced its subject cultures, to identify the pedagogies that appeared to be subject culture's representative, and to know the ways in which pedagogy was shaped. The result has identified four categories such as illustrations of relevance, explorations of contexts, humanising stories of historical and contemporary heroes, and representations of human endeavour.

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Strategies to combat the many effects of mental illness on individuals and families need to go beyond psychopharmacology and institutional care. Evidence has been mounting for the healing and treatment role of art in clinical and health care settings. Art, in its many forms, has also been suggested as one valuable tool in addressing social exclusion in people with many forms of disability including mental illness.
This paper draws on Masters Research findings to present a discussion of the historical and the current landscape of Art for Health Programs with special emphasis on art programs targeting people with chronic mental illness. Recent studies in the UK and Scotland indicate that participation in the arts can enhance recovery, social connectedness and cultural inclusivity.