Refiguring Historical Consciousness

Cinema as a form of composition

The purpose of this study is to increase students' historical awareness through the application of film media in history learning. This research will be conducted with the main focus on the use of historical-themed commercial films in increasing historical awareness at SMAN 50 JAKARTA. The research will be conducted from February to May 2022. The method used in this research is descriptive qualitative. The data analysis technique used is descriptive qualitative through three paths, namely (1) data reduction, (2) data presentation, and (3) drawing conclusions. Data collection methods were carried out through in-depth interviews, participatory observations, documentary materials, as well as new methods such as visual methods and internet search methods. Informants in this study were history teachers at SMA NEGERI 50 JAKARTA and students, secondary data contained in learning tools. The results of this study become recommendations for teachers so that students have the ability to process information so that history learning is more meaningful. This shows that the application of film media to increase students' History Awareness is one way that can be used in learning history at school. Historical films are used as teaching media to really help history teachers to attract students' interest. The teacher uses historical films as the first step in starting new material so that students have an overview of the material to be discussed. The use of historical films for students is considered much more enjoyable because the film has a storyline and makes it easier for students to understand the chronology of an event.

Harrison, Timothy M. <i>Coming To: Consciousness and Natality in Early Modern England</i>

No presente texto, a proposta é analisar os conceitos de cultura histórica, consciência histórica e sua complexa relação quando pensando a aprendizagem histórica, além de apontar suas contribuições para investigações que busquem entender o envolvimento do sujeito aprendiz com artefatos culturais portadores de discurso histórico. Tais reflexões são pautadas no âmbito das pesquisas sobre ensino e aprendizagem da história a partir dos estudos da Educação Histórica sob a conceptualização da aprendizagem histórica extraídas do filosofo da história Jörn Rüsen. Neste sentido, a partir das contribuições sobre a intersubjetividade e verdade trazida por Marcelo Fronza e da problematização do lugar do sentimento e da razão conforme Bodo V. Borries, a didática da história alemã surge como campo de investigação que possibilita profícuos debates na problematização do envolvimento sujeito, artefatos culturais e conhecimento histórico no entrelaço entre consciência histórica e cultura histórica.

The article deals with the newest historiography on the analyses of Vilnius history through the use of multiperspective methodology (Multiperspektivität). The history of Vilnius (14th-16th c.) due to its multiethnic, multicultural, and multiconfessional aspects suits this methodological reflection since it does not seek to find "objective" monoview or to equalise the relief of historical identities but, on the contrary, to discover concepts and subjects which can reveal the variety of historical consciousness or even help in their formation. Theses - capital of Lithuania, Vilnius is a multiethnic and multicultural city, is banal and does not need to be proved. Although there is no such insight in the current historiography. On the one hand, the status of Vilnius as a capital was argued because of its multiethnicity; on the other hand, the question of multiculture was often neglected by stressing Polish, Russian, or Byelorussian heritage and thus participating in the political partition of Vilnius. The main tendencies of the different development of historical perspectives. Nowadays, changes in the model of cultural history of Lithuania could be found: from baltophilical (S. Daukantas) and lithuanocentric (A. Šapoka) concepts towards the concept of Lithuania's Europeanisation formulated by E. Gudavičius and research of J. Bardach signifying the independence of Lithuania at the end of the 18th century. We also could discuss new preconditions for the perspectives of historical consciousness of Lithuanian Poles (for example: introduction of the Polish-speaking nobility into the 19th-century Lithuanian society, theory of Europeanisation). These premises allow us to form insights on the perspective of Lithuanian Poles' historical consciousness. The reality of Lithuanian Russians' and Ukrainians' historical consciousness forms an insight that correct scientific historiographical bases have to be developed for the research on identities of the ethnic groups mentioned above. The phenomenon of the Vilnius Jewish community brings Lithuanian capital into another higher trajectory of historical consciousness. Vilnius could be called "Northern Jerusalem" not only because of its phenomenal role in Jewish culture but also because it is very difficult to find so many nations and confessions living so close to each other as here at the end of the 20th century. In this context, Lithuanian capital appears as a sphere of gravitation and junction of several civilizations and also as the coexistence space of several confessions.

During the last decade a new direction has emerged in international research into cinema history, shifting focus away from analysing the content of films to considering their circulation and consumption, and examining the cinema as a site of social and cultural exchange. This body of work distinguishes itself from previous models of film history that have been predominantly constructed as histories of production, producers, authorship, and individual films most commonly understood as texts. This approach has now achieved critical mass and methodological maturity, and has developed a distinct identity as the ‘New Cinema History’.1 In this chapter we describe the emergence and concerns of New Cinema History and its relationship with digital methods and technologies through a discussion of several case studies and projects, focusing particularly on the ‘Mapping the Movies project, which has developed a geodatabase of Australian cinemas, covering the period from 1948 to 1971. The project’s data is used to examine the effects of the introduction of television on the Australian cinema industry, while its structure raises questions about the relationship between the microhistories of particular venues and the individuals attached to them, and larger-scale social or cultural history represented by the cinema industry’s globally organized supply chain.

This aerticle provides an overview of current issues in metahistoty. Basic categories of historical thinking, such as memory and historical culture, or historical consciousness, are outlined and contextualised in the field of historical studies. The leading question adresses the process of historical sense generation and its fundamental principles and criteria. In respnse to the traumatic historical experiences of crimes against humanitiy in the 20th century two culturally established procedures of sense generation are applied to historical thinking: mourning and forgiving. The author tries to widen the horizon of historical thinking into the dimension of intercultural communication. In the process he responds to the challenge of globilization. There is an accent on the need to pursue new approaches in history.

The Rise of Skywalker.Among the interviewees featured in the report was Thomas Manglitz, co-founder of the fan-run museum 1 Stars of the Galaxy in M€ onchengladbach, Germany (hereafter SOTG).Housed in a former indoor swimming pool vacated by the city, SOTG displays production materials and merchandise from a variety of science fiction productions.However, the vast majority of the amateur museum's displays are dedicated to the Star Wars franchise, ranging from action figures to LEGO sets, replicas, and collectible figurines.Because of this focus, SOTG has become a popular destination for local and regional press, as well as fellow fans, to interview Manglitz about Star Wars, including the history of the films, the success of the franchise's merchandise, its fan community, and the story behind the museum itself.Although Manglitz himself frames the project as a hobby without any economic agenda in such reports, the curatorial work of the fans behind SOTG should not be considered as mere leisure.Rather, following Mel Stanfill's plea to study fan practices and projects through a labor framework and "ask who benefits from these activities" (131), fan curating should be acknowledged as a form of work that creates cultural and economic value for different agents.

Huizinga, Meinecke, or Braudel.1 He was even less interested in philoso phy of history and considered this discipline to be devoid of interest and significance.2 He never commented on the work of Hayden White?the most influential contemporary philosopher of history?though he must have been quite well aware of its existence3 and of how close it came to his own scholarly interests.4 Next, it is true that Rorty wrote quite a lot on political philosophy, philosophy of culture, and literary theory, all of them fields that are not too remote from the professional interests of historians and philosophers of history. But he never felt attracted to the typically historical aspects of politics, culture, and literary theory. It was Rawls whom he chose for his main guide in political philosophy?hence, the political philosopher who, with his notorious veil of ignorance, had removed in one fell swoop all things historical from the political philosopher's agenda. Next, Derrida was Rorty's hero for the domains of culture and literary theory. And, again, Derrida's fetishization of the text left no room whatsoever for the historian's traditional concerns. In sum, history, historical awareness, historians, and historical thought never scored high on the list of Rorty's professional interests.5 However, there is one signal exception to Rorty's indifference towards

Nearly inextricable with human culture, religion has woven itself into the very existence of the human being throughout a long and complex history. As such, a culture theory can only abstractly distinguish religion as an “ideological system” from techno-economics, social structure, and individual personality (Kaplan &amp; Manners, 1972). Everywhere and in multivarious forms, religion reveals itself in the histories of cultures. It has inspired the highest and the best in people. On our travels we admire temples and cathedrals. In concert halls we enjoy the compositions of religious themes, and in museums we devote ourselves to so-called religious art. At the same time, however, the history of religion has been a sad tale wherein it has constituted, legitimized, and enforced inequitable relations in the spheres of labor and society. Whereas religion has at times promoted people’s best, it has also defamed and oppressed people, and it has persecuted other-believers and nonbelievers.

M. Edith Durham’s Twenty Years of Balkan Tangle (1920) represents both a deeply personal travelogue and a significant document of historical consciousness, reflecting the intricate interplay between memory, identity, and historiography in the Balkans. This study examines Durham’s work through the lens of travel writing scholarship, acknowledging the genre’s inherent tensions between objectivity and subjectivity while exploring how her narrative contributes to the formation of historical consciousness in the region. Drawing on travel writing theory as developed by Carl Thompson and Casey Blanton, this analysis situates Durham’s work within broader Western discourses about the Balkans, engaging with Maria Todorova’s concept of ‘balkanism’, and related scholarship. The study addresses Durham’s position as both an observer and interpreter of history, considering how her British perspective shaped her representations of Balkan societies. While focusing primarily on Twenty Years of Balkan Tangle, this analysis also draws on Durham’s earlier travel works to provide context for her evolving understanding of the region. The methodology employed includes close textual analysis informed by travel writing scholarship, historical comparison with contemporary sources, and application of cultural memory theory as developed by Maurice Halbwachs, Pierre Nora, and Jörn Rüsen. By situating Durham’s work within these frameworks, the study aims to elucidate her complex role in both preserving and constructing historical memory, while acknowledging the limitations and biases inherent in travel writing as a genre.

Australia offers tremendous scope for understanding the relationship between music, spirituality and landscape. This major, generously-illustrated new volume examines, in fifteen chapters, some of the ways in which composers and performers have attempted to convey a sense of the Australian landscape through musical means. The book embraces the different approaches of ethnomusicology, gender studies, musical analysis, performance studies and cultural history. Ranging across the country, from remote parts of the Northern Territory to the bustling east coast cities, from Tasmanian wilderness to tropical Queensland, the book includes references to art and literature as well as music. Issues of national identity, belonging and aboriginalization are an integral part of the book, with indigenous responses to place examined alongside music from the western orchestral, chamber and choral repertories. The book provides valuable insight into a wide range of music inspired by Australia, from the Yanyuwa people to Jewish communities in Victoria; from Peter Sculthorpe's opera Quiros to the work of European expats living in Australia before the Second World War; from historic Ealing film scores to contemporary sound installations. The work of many significant composers is discussed in detail, among them Ross Edwards, Barry Conyngham, David Lumsdaine, Anne Boyd and Fritz Hart. Throughout the book there is a sense of the vibrancy and diversity of the music inspired by the sights and sounds of the Australian landscape.

This article examines the main stages in the development of the scientific culturological school at the St. Petersburg State Institute of Culture, which is centered around the Department of Theory and History of Culture. Within the framework of historical and contextual analysis, the main cultural-philosophical, theoretical, historical-cultural, and practical vectors of the department’s scientific and educational activities are identified. Particular attention is paid to the development of culturological school at the St. Petersburg State Institute of Culture in the context of the main tasks of state cultural policy, within the framework of post-Soviet transformations of Russian culture, the exhaustion of transition and the stabilization of Russian culture. The article shows how the thematic tree of the department’s research has been supplemented and enriched over time. Some genetic lines of continuity of ideas in the works of representatives of the scientific school are revealed. The prospects for the development of culturology and current tasks in the field of teaching culturological disciplines at the present stage are analyzed.

Introduction. The study of cultural imprints in Russian history has become particularly relevant in recent decades amid globalization and a crisis of values. Imprints, understood as cultural and symbolic codes that enshrine key events and images in the people’s memory, serve as mechanisms for preserving identity and shaping strategies for the future. Russian culture possesses is a unique heritage; its monumental codes – from Orthodox churches to monuments to military victories – serve as repositories of historical memory and tools for goal-setting. The purpose of this article is to analyze the categories of “imprint”, “impressing” and “cultural code”. to examine the phenomena and processes they designate in the context of Russian history and culture, and to identify their role in the continuity of traditions. Materials and Methods. The research material is drawn from the works of Russian and international scholars in the theory and history of culture, cultural sociology, semiotics, psychology, philosophy, and evolutionary theory, which utilize the above-mentioned categories. Interdisciplinary approaches are employed: cultural-genetic, typological, semiotic, and phenomenological. Results and Discussion. It is shown that cultural imprints represent unique mechanisms for capturing experience through historical events (wars, reforms, cultural breakthroughs), religious symbols, and artistic images. Imprinting and impressioning are defined as complementary processes of cultural memory: the former captures culture through critical events, the latter through everyday practices. The cultural code is interpreted as a universal system of signs, filled with imprints. The integration of the categorical apparatus of cultural studies and the sociology of culture allows us to consider imprints as matrices of identity. Conclusion. Cultural imprints of Russian history are not only elements of the past but also active mechanisms for the cultural future, ensuring identity in the face of global challenges. They correlate with M. M. Bakhtin’s concept of cultural-historical “telepathy”, as well as with F. Tenbruck’s social vocabulary and the concept of cultural trauma developed in contemporary cultural sociology. The research prospects are linked to the development of integrative cultural studies methodologies that will allow us to uncover the evolutionary and prognostic role of imprints and their significance in the strategic goal-setting of culture.

Understanding the specifics of creativity, the features of the artistic method of not a single artist can be achieved without a meaningful analysis of their works. The purpose of this study is to analyse three works by the Czech artist A. Mucha “Madonna of the Lilies”, the Poster for “The Lottery of the Union of Southwest Moravia” and the Poster for “The Slav Epic Exhibition”, to reveal the programmatic content of each of these works, as well as their general artistic idea. The works by A. Mucha were analysed using the method proposed and justified in the field of theory and history of culture by the Russian scientist V.I. Zhukovsky. This technique determined the logic of analysis of the selected works. Such methods as observation, formalisation, analysis, synthesis, analogy, extrapolation and interpretation were applied. The result of a methodical analysis of the three selected works by A. Mucha testifies to the programmatic creativity of the artist, to a single semantic regularity in his works. The key theme uniting all three works being analysed is the theme of divine patronage of the homeland (native land, people). However, the authors draw attention to a number of aspects of visualisation of this topic in each of the works. If the work “Madonna of the Lilies” expresses the idea of patronage in its very initial moment, the moment of faith in patronage coming from above, then in the poster of the lottery divine patronage becomes doubtful. Nevertheless, the analysis of the poster for “the Lottery of the Union of Southwest Moravia” revealed a number of artistic signs indicating the possibility of a revival of faith in patronage. Based on the interpretation of these signs, such conditions for the revival of faith as the lack of fear “to look and see, to fight” were formulated. Confirmation of the idea of revival is expressed in the third analysed work of the artist, i.e. the poster for “The Slav Epic Exhibition”. Methodical analysis allowed us to characterise this work as a statement of fulfilled expectations, prosperity and dawn at the same time. The terms “death, withering, fossil”, which are defined as temporary phenomena, act as a programmatic condition expressed through the artistic signs of the work