Conquering the air: The surprising story of aviation at Australia’s Bondi Beach

“Boulevard of Broken Songs”

Science educators have stressed in recent years the importance of providing students with an historical understanding of the development of scientific knowledge. Although many approaches have been suggested for building historical understanding of science, historical source materials have often been deemed too difficult to use with elementary school students. This article reports on a case study that used archival and contemporary source materials in project activities, such as photographs and field notes, to engage students in the processes of data generation, selection, annotation, and evaluation. The curricular science activities of one elementary classroom with 29 fourth and fifth grade students are decribed and analyzed as they build and use archives of historical and contemporary naturalist materials. The article concludes with a discussion of the feasibility and benefits of using historical source materials within elementary science education, as well as the implications for selecting and preparing historical source materials in digital format for use in elementary education. © 2001 John Wiley & Sons, Inc. Sci Ed 85:349–367, 2001.

Promises and Pitfalls of the Digital Age: A Review of Henry Jenkins, Sam Ford, and Joshua Green's <i>Spreadable Media: Creating Value and Meaning in a Networked Culture</i>

Despite their easy availability, postage stamps have received little attention as historical source material. One of the aims of this article is to demonstrate the utility of postage stamps for the study of the construction of national attitudes and cultures — in this instance, national attitudes to science and scientists. It has frequently been suggested that science has not been afforded the same level of respect in Britain that is usual in many continental countries. This article compares the representation of science and scientists on postage stamps in Britain, France and West Germany during the period 1951–90, to see if this supposed difference in attitudes is evident. An analysis of the number of stamps representing science during this period shows that the subject was not unfavourably treated on British stamps compared with those of the other two countries. There was, however, a marked difference in the way that science was celebrated on British stamps. Whereas France and West Germany gave prominence to the individual scientist, British stamps favoured the institutional aspects of science. This difference can be partly explained by the issue policies of the postal authorities, but is chiefly due to the different messages that the three countries were trying to send about themselves and does not seem to be a symptom of different national attitudes to science. The role of postage stamps in celebrating and helping to define the national culture is briefly discussed and compared with other forms of acknowledgement of the role of science in popular culture, such as the design of bank notes and national festivals.

This article focuses on two aspects of popular culture. Principally, the article presents a history of a popular sculpture erected at Australia’s Bondi Beach in 1960. The narrative follows the genesis of the work, its removal, and subsequent attempts to restore the sculpture at different locations on Bondi Beach and in the adjacent Bondi Park. Based on archival research and material from the popular press, the article offers the first thorough account of the sculpture, highlighting debates around its form, its popularity with local residents, the often-overlooked significance of the work as a tourist attraction, and decades-long efforts to restore the work. Secondly, the article identifies the sculpture’s creator, Lyall Randolph, as an artist who enjoyed popular appeal in Australia at this time, despite never reaching the status of an ‘elite’ artist. Investigating the place of a popular artwork in the cultural and social history of Australia’s most iconic beach, the article contributes to both Bondi and Sydney’s eastern suburbs’ local history and knowledge about popular Australian artists.

Introduction Historical research can benefit health professions by providing a basis for understanding how current beliefs and practices developed over time. From an occupational therapy perspective, a need for deeper critical understandings of the profession has been identified; historical research can facilitate this process. Documentary research is a significant methodology in historical inquiry, but there is a dearth of guidance for occupational therapists wishing to employ this method. Method A conceptual literature review was conducted to describe how to use documentary sources to understand the development of the profession, drawing on literature from the disciplines of history and occupational therapy. Results The stages of historical documentary research are described: choosing a topic, sourcing and selecting evidence, and managing sources. How to consider the authenticity, credibility and representativeness of historical material is discussed. Various means to determine the meaning of historical evidence are considered, with chronological, thematic and theoretical approaches proposed. Conclusion Methodological transparency is central to the process of historical documentary research. To enhance understanding of the quality of historical source material, adoption of the guidelines outlined is recommended. Adopting a clearly defined questioning perspective promotes more substantial conclusions and professional understandings.

ABSTRAKPenelitlian ini bertujuan untuk mengetahui penggunaan Museum “Ir. Djamaludin Suryohadikusumo” sebagai media pembelajaran alternatif dalam proses kegiatan pembelajaran sejarah pada materi sumber sejarah. Permasalahan yang akan dibahas di dalam artikel ini, antara lain: (1) bagaimana peranan dan pemanfaatan Museum Kehutanan “Ir. Djamaludin Suryohadikusumo” sebagai media pembelajaran sejarah? (2) bagaimana pemanfaatan museum “Ir. Djamaludin Suryohadikusumo” sebagai media pembelajaran sejarah pada materi sumber sejarah dalam mata pelajaran sejarah peminatan. Penelitian ini menggunakan metodologi kualitatif deksriptif dengan pengumpulan data melalui observasi langsung dan wawancara mendalam. Dari hasil penelitian dapat diketahui, bahwa Museum Kehutanan “Ir. Djamaludin Suryohadikusumo” tidak hanya berfokus pada kajian sejarah, melainkan memiliki berbagai fokus kajian tentang kehutanan, mulai dari pelestarian, pengelolaan dan komersialisasi hutan. Museum “Ir. Djamaludin Suryohadikusumo” tidak memiliki banyak benda koleksi kesejarahan. Meskipun demikian Museum “Ir. Djamaludin Suryohadikusumo” tetap dapat dijadikan media pembelajaran sejarah, dimana guru dapat mengkorelasikan benda-benda koleksi kesejarahan milik museum dengan pembelajran sejarah materi sumber sejarah dan sub-sub materinya.Kata kunci: Museum Kehutanan “Ir. Djamaludin Suryohadikusumo”, media pembelajaran, pembelajaran sejarahABSTRACTThis research aims to determine the use of the Museum "Ir. Djamaludin Suryohadikusumo "as an alternative learning media in the process of history learning activities on historical source material. Issues that will be discussed in this article include: (1) how the role and utilization of the Forestry Museum "Ir. Djamaludin Suryohadikusumo "as a medium for learning history? (2) how to use the museum "Ir. Djamaludin Suryohadikusumo "as a medium of learning history on historical source material in specialization history subjects. This research uses descriptive qualitative methodology by collecting data through direct observation and in-depth interviews. From the results of the study it can be seen that the Forestry Museum "Ir. Djamaludin Suryohadikusumo "doesn’t only focus on historical studies, but also has various focus studies on forestry, ranging from forest conservation, management and commercialization. Museum "Ir. Djamaludin Suryohadikusumo "doesn’t have many historical collections. Nevertheless the Museum "Ir. Djamaludin Suryohadikusumo "can still be used as a medium of history learning, where the teacher can correlate the museum's historical collection objects with historical learning of historical sources and their sub-material material.Keywords: Museum Kehutanan "Ir. Djamaludin Suryohadikusumo ", learning media, learning history

Reviewed by: Tales of Southeast Asia's Jazz Age: Filipinos, Indonesians and Popular Culture, 1920–1936 by Peter Keppy Raul Casantusan Navarro Peter Keppy Tales of Southeast Asia's Jazz Age: Filipinos, Indonesians and Popular Culture, 1920–1936 Singapore: NUS Press, 2019. 269 pages. Peter Keppy has written extensively on Indonesia since the 1990s. His Politics of Redress: War Damage and Restitution in Indonesia and the Philippines, 1940–1957 (KITLV Press, 2010) was his first major work, in which he tackled postwar issues in both countries. The present work is the author's second, in which he fuses together the intersections of politico-historical events and popular music in the two Southeast Asian nations. Viewed against the political backdrop of colonization characterized by two contrasting modes of subjugation—Indonesia under the repressive Dutch government and the Philippines under the "benevolent assimilation" of the American insular government—both countries were gifted with artists who touched their respective nation's popular imagination. Keppy chose Luis Borromeo, aka Borromeo Lou, who was among the first proponents of jazz music in the Philippines, to initiate his discussion on popular culture in the Philippines, and he picked the multitalented Ms. Riboet, actress, dancer, singer, and recording artist, as an appropriate representative of both low- and high-brow Indonesian culture. [End Page 123] The author uses three key concepts to weave his data to produce the present work. Two of the concepts, "pop cosmopolitanism" and "participatory culture," are derived from media scholar Henry Jenkins, and the last one, "popular modernism," is a take on anthropologist Joel Kahn's cultural theory. To make a small twist to Jenkins's theory, Keppy uses the term "participatory pop" instead of "participatory culture." The inclusive term "participatory culture" could have sufficed to navigate seamlessly through both mass and elite cultures discussed in the book because, after all, the author does not offer any new meaning for the phrase "participatory pop." Besides, the words "participatory" and "popular" basically connote the same thing. Any cultural artifact could not have been created or formed without the participation or popular support of its audience as both consumer and producer. On the one hand, Keppy highlights specific groups of Filipinos (as the following chapter titles attest: "Cabaret Girls and Legislators" and "Jassistas, Balagtansistas [sic], Zarzuelistas") to suggest a varied cultural scenario that Borromeo negotiated as a musician. On the other hand, aside from being a singer, Ms. Riboet was introduced by the author as a cultural broker, a bridge between arts and artists and the masses. These interconnections among artists, producers, and consumers suggest a broad participation of people in the creation of popular culture. The book has ten chapters, the first of which introduces both Borromeo and Riboet as leitmotif in discussing popular culture in their respective countries. The next five chapters narrate stories of Borromeo's work relationships with other Filipino artists, his active theater life, and the groups he founded or performed with. The last four chapters are devoted to a close reading of Riboet's career and the development of politics and popular theater in Indonesia; the genres "popular theater" and political theater were fortes of the theater groups Komedie Stamboel and Dardanella at the height of their popularity. Although Keppy utilizes them as handles for discussion, Borromeo and Riboet are not given equal treatment. The obvious wealth of data on Indonesia and Riboet (or perhaps the number of years devoted by the author to the study of Indonesia) has yielded a richly woven story about popular theater in Batavia and other centers of cultural activity in the Dutch East Indies. There is also the impression that the author is much more knowledgeable about this colony than the Philippines, as inaccuracies about the latter are found in the text. A few examples of these slips are as [End Page 124] follows: "as a consequence of impending Philippine Independence in 1935" (132) (the Philippines was granted its independence by the US in 1946); and "In the early 1930s, Bocobo would lead a research project aimed at documenting native music and dances" (46) (Bocobo was president of the University of the Philippines [UP] when he created the "UP Committee on Folk Songs and...

The literary oeuvre of William Shakespeare has become ubiquitous within popular culture, pervading a broad range of media, including motion pictures, television series, musical compositions, and promotional campaigns. This paper delves into the intriguing intersection of Shakespearean canon and popular culture, with a particular focus on Hamlet. It aims to examine the various adaptations of William Shakespeare’s Hamlet in different forms of popular culture, with a view to understanding the impact these adaptations have had on the public’s perception of Shakespearean canon. The paper is centred on two specific adaptations of Hamlet - Ryan North’s interactive graphic fiction To Be or Not To Be, and the manga edition of Hamlet by Adam Sexton and Tintin Pantoja titled Shakespeare’s Hamlet: The Manga Edition. One of the primary objectives of this research is to investigate the use of graphic novels and interactive fiction as mediums of popular culture in adapting Hamlet. The paper argues that the adaptations of Hamlet in popular culture bring a fresh perspective to the text, and can appeal to new and diverse audiences that might not have been exposed to Shakespearean canon in traditional academic settings. Furthermore, the paper explores the larger implications of these adaptations in the context of the relationship between popular culture and literary canon. It highlights how popular culture has helped to expand the reach of Shakespeare’s works and recontextualize them for new audiences, while retaining the fundamental essence of his works. The paper also considers the challenges and opportunities presented by the intersection of Shakespearean canon and popular culture. Finally, this paper aims to contribute to ongoing conversations about the role of popular culture in shaping our understanding of literary classics and the ways in which these works can be adapted and reinterpreted for modern audiences, through the discursive lens of Hamlet’s adaptations.

Reviewed by: House of Wits: An Intimate Portrait of the James Family by Paul Fisher Pierre A. Walker Paul Fisher . House of Wits: An Intimate Portrait of the James Family. New York: Holt, 2008. 694 pp. $35.00 (hardcover). F. O. Matthiessen's The James Family (1947) served an important introductory role for the developing scholarly study of the Jameses. R. W. B. Lewis's The Jameses: A Family Narrative, when it appeared (1991), was useful to general readers as a succinct introduction to the James family and was valuable to James scholarship for the new material it included (for instance on the more recent generations of Jameses). Paul Fisher, in House of Wits: An Intimate Portrait of the James Family, acknowledges both the "superlative work" of his predecessors and the many biographies1 of individual Jameses that have appeared since The James Family. He justifies issuing a new family biography by stating that "an up-to-date critical perspective" and "Whole new theoretical structures about gender and sexuality have emerged since most of the James biographies were written" (5). While this justification might lead readers to expect biographical revelations resulting from, say, a queer theory approach to the Jameses, what House of Wits delivers is an interpretation of the Jameses as a dysfunctional family of neurotics, alcoholics, and repressed sexual libidos. Central to this interpretation is an extension of Alfred Habegger's treatment of Henry James Sr.'s wild youth and a revisiting of Leon Edel's "Freudian" (a word Fisher uses often) sibling rivalry between William and Henry. This interpretation is original in being applied to the entire family, but, in a period when much James scholarship is about "mental illness, alcoholism, love, sex, homosexuality, money, the roles of women and men, and the pressures of professional and artistic success" (5), it is not easy to see the book's realization of its stated overall approach as new.2 The central thesis of Fisher's interpretation of the Jameses is that Henry James Sr. was a chronic alcoholic, that this accounts for his life-long erratic behavior, that his alcoholism had a profound psychological effect on his children, and that, as a result, [End Page E-14] the family was essentially dysfunctional. "Along with a history of psychological problems, Henry Senior lived for nearly three decades as an alcoholic, a factor in his and his children's lives that has largely gone unmentioned in the James biographies" (6). The "historical source material" (603 n. 6) upon which Fisher bases his thesis about the extent of Henry Sr.'s alcoholism ("nearly three decades") consists of the same few documents to which Habegger refers in The Father: two unpublished 1849 letters by Garth Wilkinson to Henry Sr.; Henry Sr.'s 26 August 1851 New York Tribune article, "Intemperance" (reprinted the next year in Lectures and Miscellanies 425-32); and a letter of the mid-1870s by Henry Sr. to his youngest son that tells Robertson James, who was developing his own drinking problem, something of the father's exposure as a youth to "raw gin or brandy" (Habegger 57). In the instance of the letter to Robertson (or Bob, as the family called him), which because it is the least ambiguous is arguably the most significant of these sources, Fisher relies upon the same source as Habegger and as quoted in part in Habegger (605 n. 31). Habegger saw the actual letter when it was in the private collection of the late Henry James Vaux and presumably, therefore, in its entirety (520 n. 57). Fisher minimizes the fact that Howard Feinstein and Habegger first revealed the extent of the Jameses' drinking, not just Henry Sr.'s (Feinstein 47, 57, 305n; Habegger 57, 92-93, 118-20, 151) but also the drinking of brothers John, Edward, and Howard James (Feinstein 305n; Habegger 356-59). Habegger's The Father is conservative in the conclusions it draws from this source material; House of Wits is not. Here is how Habegger treats the mid-1870s letter to Bob: In writing to his youngest son, . . . Henry painted a much darker picture . . .: "When I was ten years old I was in the habit of taking a...

This chapter discusses the intersection of race, religion, and popular culture. Race is posited here not as synonymous with people of color, but rather as an analytic category that examines the social construction and very real reality of racialization: the process of becoming and identifying whiteness, blackness, and so on. Two broad approaches to the study of race, religion, and popular culture are examined: Popular Culture in Religion, and Religion as or in Popular Culture. The chapter then offers a brief overview of how these two approaches have both broadened standard narratives of American religious history as well as illuminated scholarly understandings of how religio-racial identities are constructed, perpetuated, challenged, and queered through the use of popular culture forms such as print, phonograph, radio, televangelism, celebrity, and hip-hop.

Popular culture is the representation of a society in artifacts, symbols, and rituals of everyday life – represented through media such as television, radio, news, books, movies, and music. Studying popular culture thus offers organizational communication scholars an understanding of fundamental workplace and organizing processes, as evident to ordinary people through everyday life. Four broad areas of scholarship on the intersections of popular culture and organizational communication may be identified, pertaining to organization–society relationships, the nature of everyday work, building leadership, and social difference. Future research should focus on developing theoretical frameworks that better examine the intersections of everyday organizational practice and popular culture, adopting varied quantitative and qualitative methods to study popular culture representations of organizing, and examining different geographical contexts as well as broader organizational issues.

The huge potential of popular culture shaped and transmitted over “mass-media” and “new” media is noticed. At the same time, they are criticized due to their content and their influence on human actions and social relations. A number of social researchers refer to the submission of media to popular culture and entertainment, promoting of immaturity of the recipients and in consequences withdrawn from the public sphere. On the other hand, the popular culture is consider as a factor important for development of the human capital, the bonding social capital, individuals identity and society’s cohesion. The aim of this paper is to analyse the relationship between popular culture and the civic engagement of youth. First, the basic assumptions of popular culture- civic engagement relations are introduced. The second section is based on the chosen findings of author’s pilot study into the field of The youth identity formation in the mobile society era (N=92). The mutual associations between the popular culture consumption of university students and their level of civic engagement are analysed. The research results show statistical significance of the positive relationship in the sample between analysed factors. The higher is level of students’ cultural participation and media consumption, the higher is level of their civic engagement. The article concludes with the explanation of those findings, which may be considered surprising in light of popular culture criticism.

ABSTRACTInteractive media and virtual environments give rise to transmedia and multiscreen viewing in a new popular and participatory culture. This in turn requires a new type of critical, reflective media education. This article reviews expert opinions on the educational potential of The Hunger Games (THG) and the use of Twitter during the viewing of films by young audiences. The study has the twofold goal of analysing whether the tweets include the topics of ideology and values mentioned in the selected articles and whether the conversations help build knowledge of the subjects that, according to the experts, are discussed in the literary trilogy. The method, based on discourse analysis, is twofold as well, comprising, on one hand, the discussion of 61 selected academic papers on THG and, on the other, 6000 tweets posted by youngsters while watching the films in the trilogy shown on TV. The tweets were analysed using the ‘coding and counting’ technique in computer-mediated discourse analysis. The results show a great chasm between academic or educational perspectives and what youngsters see in the films. Twitter interactions show that the virtual environments where these interactions take place are mere virtual concourses rather than affinity or learning spaces. This draws attention to the need for a new type of media education which not only includes the popular culture in formal education environments, but also uses the virtual concourses where youngsters gather around media products to transform mere coexistence into convergence of interests based on the meaning of these products.

Teenagers’ interest in highbrow culture like classical music, museums and plays is somewhat low, but this group’s extensive Internet use may heighten this interest and increase their cultural participation online. In contrast to previous research, we examined teenagers’ online involvement in both popular and highbrow culture. An investigation among 892 high school teenagers indicated that explanations from the fields of cultural participation and media use account for differences in online cultural involvement. Teenagers with parents who are more highly educated and culturally active, and those with culturally interested friend are in turn more interested in culture, and communicate online more about both highbrow and popular culture. In addition to interest and socialization, there appears to be a minor mobilization effect of Internet use, as those with better digital skills and spending more time online engage more in online cultural communications.