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Cartoon pictures help to encourage students’ attention and bring joy to learning English. Cartoon lessons efficiently support students’ English language achievements. This research aimed to develop the Association of South East Asian Nation (ASEAN)cartoon lesson using the communicative language teaching approach and the Common European Framework of Reference forLanguages for secondary school students. The ASEAN cartoon lesson was used to teach M.2 students for 22 hours. Then,interviews, a multiple-choice test, questionnaires and focus group discussions were used to collect data that were analysedby content analysis, descriptive statistics, a relative gain score and a dependent sample t-test. The research findings indicatedthat the cartoon lesson displayed very good efficiency and effectiveness. In addition, the students displayed developments intheir language learning. This result will hopefully become a reference for English teachers to use to enrich students’ learning.
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Celem artykułu jest prezentacja i omówienie wybranej twórczości Marii Sadowskiej. Są to utwory pochodzące z płyty Dzień kobiet oraz film o tym samym tytule, a także kompozycja „Rewolucja” zawarta w albumie Spis treści. W związku z charakterem przytoczonych materia-łów metodologią, którą wykorzystuję do ich interpretacji, jest krytyka feministyczna. Jednym z podstawowych powodów wyboru wymienionych dzieł i perspektywy badawczej jest to, że artystka inspiruje się matkami myśli feministycznej, takimi między innymi jak Susan Sontag, Barbara Kruger czy Simone de Beauvoir, a podniesione przez nią wątki zdecydowanie mieszczą się w obrębie zainteresowań krytyki feministycznej. Próbuję też określić, czy podjęcie kwestii feministycznych wynika jedynie z bieżących wydarzeń społeczno-politycznych, czy jest rezultatem wnikliwej refleksji.
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On the surface, the book Lekcje ciemności. Kino dokumentalne Wernera Herzoga [Lessons of Darkness: Werner Herzog’s Documentaries] (2020) by Magdalena Kempna-Pieniążek is a guide to the documentary cinema of the German director. Upon closer examination, though, the publication reveals its pioneering character. The reviewer draws attention to the author’s compelling attempt to place Herzog’s films in the context of Romantic gnoseology. He appreciates her idea to analyze the director’s work according to various ways of cognition and bind them together by the theme of darkness. As Kempna-Pieniążek notes, Werner Herzog tries to discover the truth about reality in crisis during his ‘lessons of darkness’.
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A phenomenon encountered since ancient times, censorship has taken on different forms of manifestation in puppet and marionettes theatres, which have become animation theatres since 2008. The mutual influence of society on this kind of theatre has led to often virulent reactions and exposure to realities that have disturbed the leadership and the political system. As a result, the creators of this (traditional or professional) theatre area faced all the repercussions they generated, and assumed them, knowing the censorship, prohibitions, persecutions, amputations of the messages and even going to jail and paying with their life. Nowadays, censorship has different aspects, it is no longer exercised by the system, but it is under the direct analysis of the public, whose power has increased with the new media and under the encouragement of entertainment institutions, which want to be transparent and customer/public oriented, an attitude sometimes found at the fine line between artistic and commercial.
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In addition to its drawbacks, the e-school experience has prompted an important restructuring of how the entire teaching and assessment system should be reorganised to support learning. We focused our research on the formative – educational value of using complementary assessment methods in online schools as successful practices, both for improving the general assessment process and for achieving the central goal of education – learning.The advantages of using these methods, proven through the implementation of the online questionnaire as a research method, have led us to expand our findings on how assessment can support learning, with the conviction that technology has entered our lives and brought alternatives in finding the most effective ways to keep education and learning at high levels in online schools as well. By interviewing 97 teachers who have carried out online teaching activities, we can conclude that it is beneficial to use complementary assessment methods in virtual classrooms as well, through a harmonious combination with traditional ones.
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The hypothesis of this article is that recent discoveries in the field of neuroscience can provide essential knowledge about the organic processes involved in stage speech specific to authentic acting creation, thus contributing to improving pedagogical approaches in both Voice & Speech and also Acting.The article presents the premises for the integration of voice & speech into the organic approach of acting, from a neuroscientific point of view, as well as some tools and pedagogical approaches modelled from this perspective. Documentation in the field of neuroscience has allowed me to adapt a method of applied psychology in order to create exercises that enable the integration of new habits regarding voice production in everyday speech. These new exercises increase the work autonomy of students, who are encouraged to create micro personal habits, individualized according to their own needs and lifestyle. The re-evaluation of a well-known pedagogical tool – the vowel chain, from the viewpoint of the neurological processes of speech, allowed me to develop a working method that enables the integration of text recall along with activating emotionally competent stimuli, while correlating the speed of speech with the one of reprocessing ideas.
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The aim of the article is to present Regina Wasiak-Taylor – a person of many talents, as a journalist, an efficient animator of the cultural life of the Polish diaspora in Great Britain, a president of the Union of Polish Writers Abroad [hereinafter: ZPPnO – Związek Pisarzy Polskich na Obczyźnie]. The following methods have been used: qualitative analysis of the press content, critical analysis of documents, heuristic analysis, interviews. We get to know Mrs Wasiak-Taylor’s scope of activity: involvement in the organisational life of the ZPPnO, in the Pamiętnik Literacki [Literary Memoir] edited in London, practicing socio-cultural journalism and literary criticism, writing scientific articles, popularisation of the emigration’s literary life and Polish ballet, organizing, among others, multimedia theatre and stage programmes – Poetic Scene [Scena Poetycka] at the Polish Social and Cultural Association [POSK – Polski Ośrodek Społeczno-Kulturalny] in London. Also: initiation of the Literary Parlour within the Polish Watchfire at the Exhibition Road, addressed to the Polish and international intelligentsia in London, active participation in international scientific conferences. Regina Wasiak-Taylor conducts editorial work on books. She is the author of readings, laudations, and her own publications: Dzieje Nagrody Literackiej ZPPnO 1951–2011 [The History of the Literary Award of the ZPPnO 1951–2011] (London 2011), Ojczyzna literatura [Literature Fatherland] (London 2013), Alfabet wspomnień Szymona Zaremby. II Rzeczpospolita, II wojna światowa, emigracja [Szymon Zaremba’s Alphabet of Memories, Second Polish Republic, World War II, emigration] (London 2015). She initiates and promotes books by Polish authors and moderates other meetings of literary and scientific circles at the Polish Embassy in London, at the International Book Fair in Warsaw and at literary events in various places.
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Ukraińska scena artystyczna, bardziej niż kiedykolwiek w dziejach postępowa i aktywna, może pomóc w budowaniu zaufania i kapitału społecznego, co jest szczególną wartością w sytuacji skrajnej wrogości i fragmentaryzacji wspólnoty.
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The speech given by St. Pope John Paul II at the UNESCO headquarters in Paris on June 2, 1980 has a special place among his numerous addresses concerning culture. Referring to the cultural changes which took place in the last three centuries the pope stood up for the culture, emphasising that in an individual dimension culture represents the constitutive element of life of every man and, correspondingly, in a social dimension it provides a support for self-determination and for the freedom of nations. Formulating such a message, the pope referred to Polish experiences, in order to highlight even stronger the significance and the primacy of a person and to point out the subjective meaning of a nation and the ethical dimension of culture. In the papal message one can also find a call for cultural opposition against contemporary subjectivism and other tendencies heading towards the disinheritance of man and, by the same token, to the shutting of the door of universal horizon of hope and love, which is based on manifold human experiences from the past.
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Theater and dance have been complementary arts since the 17th century. In time, this connection between the two arts diminished, each evolving on its own way. In Romania, it was Miriam Răducanu that started working dance with the actors before the `90s, but it was not at large scale.Gigi Căciuleanu was born in Bucharest, in a family of refugees from Bessarabia. He took ballet lessons since the age of 4 and studied at the National Coreography School. The turning point in his life and his career was meeting his teacher, Miriam Răducanu; seeing her dance was like an „almost religious” revelation to him.Gigi Căciuleanu has received many important awards and distinctions throughout his career and he has worked all around the world, including Tîrgu Mureş.
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The artistic diploma project of Jana Shostak, a Polish student from Belarus, assumed the introduction of the word “nowak” (newcomer) into the Polish language as an alternative to the negative term “refugee.” This initiative becomes particularly important in the context of the migration crisis, going beyond the safe sphere of art. The methods of presenting it, both by the artist and by the media, in the form of interviews, press articles and comments on internet forums, were analyzed. The article is an attempt to make a meta-interpretation of this artistic proposal from the perspective of critical cultural studies, emphasizing two main areas: culture as a battlefield and language as a tool of constructing meaning. Methodologically, it is also supported by relativistic linguistic theories, the paradigm of symbolic interactionism, ethnomethodology, the concept of engaged aesthetics and critical theory.
More...Filozoficzna rewizja Społecznej krytyki władzy sądzenia P. Bourdieu
Demokratyzacja stała się bezwiednie akceptowanym ideałem moralnym polityki kulturalnej. Mniej lub bardziej świadomie opiera się ona na wyrażonym przez Pierre’a Bourdieu postulacie zniesienia Kantowskiego rozróżnienia na gust czysty i gust barbarzyński. Bliższa analiza założeń teoretycznych oraz praktyki kulturalnej pokazuje, że ideał wyrażony i stosowany w tej formie jest wewnętrznie sprzeczny, a z pewnością nie może być uniwersalnie stosowany we wszystkich dziedzinach kultury. Poprawna artykulacja ideału demokratyzacji nie może opierać się na negowaniu estetyki Kantowskiej, lecz – przeciwnie – wymaga jej rehabilitacji w kierunku, który wytyczył m.in. Herbert Marcuse. Artykuł przedstawia niedogmatyczne argumenty na rzecz utrzymania elitarnego charakteru działalności prawomocnych instytucji kultury artystycznej. Jeśli demokratyzacja ma stanowić rzeczywisty (zgodny ze swym poję-ciem) ideał moralny, to autonomia kultury wysokiej działa na jej korzyść.
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The relational experiments of one-to-one performance make the promise of offering a psycho-emotional intimate encounter, understood as unique and ephemeral. The theoretical discourse about intimacy in per-formance art usually is determined by the dramaturgical and ethical principles of an (a)“live”, co-presence, and authenticity in the performer-public dialogue.The paper analyses the work The Artist is Pre-sent by Marina Abramović and Mădălina Dan’s performance The Agency of Touch, questioning a perspec-tive of understanding these principles as essentialist aspects of one-to-one performance.These works are analysed starting from the dramaturgical dimension of the principles of co-presence and authenticity – coordinates that would be constitutive for a present-oriented ontology of performance art (Phelan, Gomme, Zerihan). I also discuss the two works, based on the ethical dimension of co-presence and authenticity – using Emmanuel Levinas’ and Martin Buber’s dialogical philosophy. I demonstrate how the performer’s authenticity is constituted in these performances as a self-reflective and not an interrela-tional process, as it is claimed by the artists. Moreover, the co-presence does not function as a symmet-rical one-to-one affective dialogue, but as a hierarchical positioning of the performer. Finally, I argue that, based on these principles, the model of relating in both of these performances might create an experience of collective participation.
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The TIMVAL project was carried out during the first term of the academic year 2020-2021. It consisted of a virtual exchange between students from the West Univesity of Timisoara (Romania) and the Universitat de València (Spain) in times of pandemic.
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Classical music and the film industry began collaborating from the beginning of the 20th century in a very interesting way that gave birth to controversies, debates and influenced the rise of film music, as it is known today. Which role did classical music play in the development of film music and how was classical music used by some of the most famous movie directors? How did this collaboration between the two arts evolve and who are the most renowned classical music composers that also choose to compose for movies? These are just few questions that will be addressed in the following article.
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The paper problematizes roles and positions of women artists and women consumers through the complex processes of spectacle. The question of women’s body is related to the questioning of the gender roles on the performative level, with the aim to emphasize existing paradigms (as sexuality, dimorphism, dominations and subordinations, phalogocentric spaces), but also to make complex constructive options in the sphere of popular music and subculture (ambivalence, equivalence, variable qualities, subject representationalism, subject intentionality). The most noticeable examples stem from rock and roll culture and rock scenes where feminist resistances to male hegemonies are created, especially in the zones of power of management and fabrication of women’s body.
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The article discusses the early stages in the activity of industrial museums founded in Kraków and Lviv. The issue is analyzed as an example of creative adaptation of models and blueprints developed in the erstwhile European capitals to the reality of provincial imperial centers. The article puts emphasis on the civic character of both institutions and their role in shaping urban, regional, and national identities. Both of the discussed museums followed European models, having particularly close connections to the South Kensington Museum and the Imperial-Royal Museum of Art and Industry in Vienna and referring to it in their statutes and program activi- ties; they also engaged in vibrant scientific exchange with institutions in the capital and other cities of the Empire and formed part of the imperial net- work of industrial museums. Nonetheless, the museum in Kraków and Lviv displayed uniquely local elements, developed thanks to the involvement of municipal associations, institutions, and residents.
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