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1	Μελέτη ταλαντώσεων στο γυμνάσιο : Σχεδιασμός και υλοποίηση ενός project με αξιοποίηση ιστορικών και πολλαπλών αναπαραστάσεων Γρηγορόπουλος, Γεώργιος 09 October 2014 (has links) Κύριος στόχος αυτής της διπλωματικής εργασίας είναι η εξέταση της δυνατότητας δημιουργίας ενός project μικρής διάρκειας με την χρήση κατάλληλων μαθησιακών αντικειμένων, καθώς και η μελέτη των μαθησιακών αποτελεσμάτων του. Πιο συγκεκριμένα, αξιοποιήθηκε το ιστορικό πλαίσιο για την μέτρηση του χρόνου από το βιβλίο « Time for Science Education. How Teaching the History and Philosophy of pendulum Motion Can Contribute to Science Literacy» του Matthews M., σχετικά με τις εργασίες του Γαλιλαίου και του Χόιχενς πάνω στο απλό εκκρεμές και του Χουκ πάνω στο ελατήριο και κατασκευάσαμε δυo ιστορικές αφηγήσεις. Με βάση αυτές αναπτύχθηκαν δυο βίντεο με την βοήθεια του προγράμματος Microsoft Movie Maker, του λογισμικού ζωγραφικής και ηχογράφησης των windows, αντλώντας κείμενα και εικόνες από βιβλία, περιοδικά και άλλες διαδικτυακές πηγές. Ο διδακτικός σχεδιασμός του project, που περιλάμβανε μαθησιακά αντικείμενα, οδήγησε στη δημιουργία ενός δυναμικού περιβάλλοντος μάθησης. Βασίστηκε στην ιστορία της επιστήμης και αξιοποίησε τόσο την τεχνολογία, όσο και πραγματικές εργαστηριακές δραστηριότητες για την μελέτη των ταλαντώσεων. Υιοθετήθηκε μια εξερευνητική αρχιτεκτονική σχεδιασμού, η οποία εστιάζει στην εμπλοκή των μαθητών μέσω διαδικασιών αναζήτησης, εφαρμόζοντας τις αρχές και τα στάδια της Συνεργατικής Έρευνας Δράσης. Σε όλη την διαδικασία εφαρμογής του project, ακολουθήσαμε τις αρχές της θεωρίας του Κοινωνικού Εποικοδομισμού (social constructivism) σε συνδυασμό με τις αρχές της βιωματικής διδασκαλίας. Η υλοποίησή του project έγινε σε σχολικές τάξεις Γ’ γυμνασίου αποτελούμενες από 66 μαθητές, ηλικίας 14-16 ετών που συμμετείχε κατά κανόνα στις μαθησιακές δραστηριότητες. Ποικίλα δεδομένα συλλέχτηκαν τόσο μέσα από παρατήρηση και φύλλα εργασίας, πριν και μετά τη διδασκαλία, όσο και μέσα από μαγνητοφωνήσεις συζητήσεων στις ομάδες. Υιοθετήθηκε η επαγωγική ανάλυση δεδομένων και τόσο κατά την ανάλυση, όσο και για την παρουσίαση, χρησιμοποιήθηκε η τεχνική των συστημικών δικτύων. Η ανάλυση έγινε σε έναν αριθμό ερωτημάτων που απάντησαν οι μαθητές. Πίνακες και γραφήματα παρουσιάζουν συγκεντρωτικά τα ευρήματα της μελέτης. Η υλοποίηση του project με τα μαθησιακά αντικείμενα που χρησιμοποιήθηκαν, τα ιστορικά βίντεο, το applet, οι συσκευές και τα όργανα του πραγματικού εργαστηρίου και τα φύλλα εργασίας που χρησιμοποιήθηκαν, φαίνεται ότι προκάλεσε το ενδιαφέρον των μαθητών και οδήγησε στην αποτελεσματική εμπλοκή με τις δραστηριότητες. Οι μαθητές μέσα στο ιστορικό πλαίσιο ήρθαν σε επαφή με τους προβληματισμούς ιστορικών προσώπων, όπως του Γαλιλαίου και του Hooke, σχεδίασαν και στη συνέχεια μελέτησαν τις ταλαντώσεις και τις εμπλεκόμενες παραμέτρους και με πραγματικές εργαστηριακές δραστηριότητες και με προσομοιώσεις τύπου applet. Οι διάφορες πλευρές στις απαντήσεις τους αποκαλύπτουν ότι οι μαθητές κατά την προσωπική εμπλοκή τους εμβάθυναν στην μελέτη των φαινομένων και τα μαθησιακά αποτελέσματα κρίνονται ως ικανοποιητικά Η ανταπόκριση των μαθητών στις διάφορες φάσεις του project συνηγορεί στη συμβολή της βιωματικής διδακτικής προσέγγισης στην αύξηση των κινήτρων των μαθητών για πειραματική διερεύνηση και αναζήτηση της επιστημονικής γνώσης. Οι εμπειρίες και τα ευρήματα της μελέτης αυτής αναδεικνύουν την αξία ανάπτυξης μικρών project στο πλαίσιο των διδακτικών ενοτήτων με μαθησιακούς στόχους. Η αξιοποίηση της ιστορίας και οι αφηγηματικές μορφές διδασκαλίας δίνουν τη δυνατότητα για δημιουργία αυθεντικών πλαισίων μάθησης και λειτουργούν ως κίνητρα για προσωπική εμπλοκή των μαθητών, για ομαδική συνεργασία και ενασχόλησή τους με επιστημονικές πτυχές, σημαντικές στην κατανόηση του θεματικού πεδίου. / -- Σχέδια εργασίας 507.8 Historical representations Projects
2	Re-Inventing the Past, Defining the Future: Historical Representations and Regional Development in the Russian Northwest Sorokina, Alfia 25 May 2010 (has links) This work explores the connections between the constructed representations of places based on local histories, the processes of tradition reinvention and the strategies of regional development in two Russian regions. This analysis also outlines the context created by the external to the regions influences and the associated with them local conditions. social field of historical production territorial identity and development re-invented traditions owning development regional image historical representations development resource pool regional development local development
3	Performing Historical Narrative at the Canadian War Museum: Space, Objects and Bodies as Performers Beattie, Ashlee E. 01 November 2011 (has links) This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum. Dramaturgy Museality Theatricality Performativity Narrativity National Narrative Canadian War Museum Historical Representations Collective Memory Personal Memory National Identity Commemoration Museum Interpretation Museum Performances Performing History
4	Re-Inventing the Past, Defining the Future: Historical Representations and Regional Development in the Russian Northwest Sorokina, Alfia 25 May 2010 (has links) This work explores the connections between the constructed representations of places based on local histories, the processes of tradition reinvention and the strategies of regional development in two Russian regions. This analysis also outlines the context created by the external to the regions influences and the associated with them local conditions. social field of historical production territorial identity and development re-invented traditions owning development regional image historical representations development resource pool regional development local development
5	Performing Historical Narrative at the Canadian War Museum: Space, Objects and Bodies as Performers Beattie, Ashlee E. 01 November 2011 (has links) This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum. Dramaturgy Museality Theatricality Performativity Narrativity National Narrative Canadian War Museum Historical Representations Collective Memory Personal Memory National Identity Commemoration Museum Interpretation Museum Performances Performing History
6	Re-Inventing the Past, Defining the Future: Historical Representations and Regional Development in the Russian Northwest Sorokina, Alfia 25 May 2010 (has links) This work explores the connections between the constructed representations of places based on local histories, the processes of tradition reinvention and the strategies of regional development in two Russian regions. This analysis also outlines the context created by the external to the regions influences and the associated with them local conditions. social field of historical production territorial identity and development re-invented traditions owning development regional image historical representations development resource pool regional development local development
7	Performing Historical Narrative at the Canadian War Museum: Space, Objects and Bodies as Performers Beattie, Ashlee E. 01 November 2011 (has links) This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum. Dramaturgy Museality Theatricality Performativity Narrativity National Narrative Canadian War Museum Historical Representations Collective Memory Personal Memory National Identity Commemoration Museum Interpretation Museum Performances Performing History
8	Performing Historical Narrative at the Canadian War Museum: Space, Objects and Bodies as Performers Beattie, Ashlee E. January 2011 (has links) This thesis explores the symmetry between theatres and museums, and investigates how a museum experience is similar to a theatrical event. Particularly, this project examines how the Canadian War Museum performs historical narrative through its use of three performative elements of a theatre production: space, objects and actor’s body. Firstly, this thesis analyses how creating a historical narrative is similar to fiction writing and play writing. It follows the argument of Hayden White and Michel de Certeau who recognize a historical narrative as a performative act. Accordingly, this thesis examines the First World War exhibit at the Canadian War Museum as a space of performance. I apply Lubomír Doležel’s literary theory on possible worlds, illustrating how a museum space can create unique characteristics of a possible world of fiction and of history. Secondly, this thesis employs Marie-Laure Ryan’s theory of narrativity to discuss how museum objects construct and perform their stories. I argue that the objects in museums are presented to the public in a state of museality similar to the condition of theatricality in a theatre performance. Lastly, this thesis investigates the performance of people by applying various theories of performance, such as Michael Kirby’s non-acting/acting continuum, Jiří Veltruský’s concept of the stage figure, and Freddie Rokem’s theories of actors as “hyper-historians.” In this way, this thesis explores concrete case studies of employee/visitor interactions and expands on how these communications transform the people within the walls of the museum into performers of historical narrative. Moreover, according to Antoine Prost, the museum as an institution is an educational and cultural authority. As a result, in all of these performative situations, the Canadian War Museum presents a historical narrative to its visitors with which it can help shape a sense of national identity, the events Canadians choose to commemorate and their personal and/or collective memories. In its interdisciplinary scope, this thesis calls upon theories from a variety of academic fields, such as performance studies, history and cultural studies, museology, and literary studies. Most importantly, however, this project offers a new perspective on the performative potentials of a national history museum. Dramaturgy Museality Theatricality Performativity Narrativity National Narrative Canadian War Museum Historical Representations Collective Memory Personal Memory National Identity Commemoration Museum Interpretation Museum Performances Performing History
9	Re-Inventing the Past, Defining the Future: Historical Representations and Regional Development in the Russian Northwest Sorokina, Alfia January 2010 (has links) This work explores the connections between the constructed representations of places based on local histories, the processes of tradition reinvention and the strategies of regional development in two Russian regions. This analysis also outlines the context created by the external to the regions influences and the associated with them local conditions. social field of historical production territorial identity and development re-invented traditions owning development regional image historical representations development resource pool regional development local development
10	Reordering of Meaningful Worlds : Memory of the Organization of Ukrainian Nationalists and the Ukrainian Insurgent Army in Post-Soviet Ukraine Yurchuk, Yuliya January 2014 (has links) After the collapse of the Soviet Union, Ukrainian society faced a new reality. The new reality involved consolidation and transformation of collective identities. The reinvigoration of national identity led to a change in the emphasis on how the past was dealt with – many things which were regarded as negative by the Soviet regime became presented as positive in independent Ukraine. The war-time nationalist movement, represented by the Organization of Ukrainian Nationalists (OUN) and the Ukrainian Insurgent Army (UPA), became one of the re-configured themes of history. While most of the studies of memory of the OUN and UPA concentrated on the use of the history of the OUN and UPA by nationalist parties, this study goes beyond the analysis of such use of history and scrutinizes the meaning of this history in nation- and state-building processes in relation to memory work realized on the small-scale regional and local levels with the main focus on Rivne and Rivne oblast’. Moreover, this book focusses not only on the “producers” of memory, but also on the “consumers” of memory, the area which is largely understudied in the field of memory studies. In the book the main emphasis is put on monuments which are regarded as catalysts and symptoms of memory. The present study showed that the OUN and UPA are used more as the metaphors of the anti-Soviet and anti-communist struggle for independence than as historical entities. This past is largely mythologized. Functioning as a myth the memory of the OUN and UPA obliterates difficult knowledge that the historical research reveals on the questionable activities and ideology of those organizations. As a result, the past of the OUN and UPA is re-imagined, re-filled with new meanings so that it is used along even with the democratic and pro-European claims in the present. It was especially well-observed during the Orange Revolution in 2004 and during the Euromaidan in 2013-2014, when the European Union’s flags were seen next to the OUN’s red-and-black flags or when the pro-European slogans were proclaimed alongside the OUN and UPA slogans. At the same time, the results demonstrated an intricate complexity of memory work shaped by intensive dynamics of private and public, grassroots and official, local and national encounters. Although there have been attempts made by political actors to draw a direct link between the national identity, political allegiances and proposed heroic version of memory, the study showed, that such attempts did not really work. In the pluralistic context the meanings are too fluid and adherence to one version of history does not preclude adherences to other versions of history which are presented as diametrically opposite in the political sphere. As result, on the recipients’ grassroots level, the memory reveals its amalgamated characteristics. Drawing on studies about post-colonial subjectivities and theories of remediation developed in memory studies, this book explores the changes in memory culture of contemporary Ukraine and examines the role of memory in producing new meanings under the rapidly changing conditions after the collapse of the Soviet Union up to 2014. The book contributes to the studies of memory culture in post-Communist countries as well as to the studies of society in contemporary Ukraine. Ukraine memory Organization of Ukrainian Nationalists OUN Ukrainian Insurgent Army UPA Rivne monuments Volhynia historical representations reception of history nationalism nation-building state-building commemoration narrative analysis Klym Savur Taras Bul'ba-Borovet's Hurby Euromaidan Orange Revolution post-Soviet post-colonial reclamation history-writing difficult knowledge remediation premediation myth Second World War ОУН УПА пам'ять комеморація пам'ятник Рівне Волинь рецепція історії міф Друга світова війна minne minneskulturen myt Ukrainska upprorsarmén reception av monument monument problematisk kunskap

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