Creative subtitling as film-transformative practice: From immersion to amazement in Edgar Pêra’s The Baron

In this study, dialectical reflexive practice is used to maintain student–teacher interactions in the zone of proximal development. The zone of proximal development is the development‐and‐learning unit of the child or learner and the author suggests that it is also the fusion point of Marx’s dialectical historical materialism: the creation of ideas from material practice. Reflexive practice, as a concentrated form of activity, leads to a heightening of consciousness awareness and becomes the ‘tool’ and ‘result’ methodology of pinpointing and maintaining interaction in the zone of proximal development, encouraging learning which converts into development. Transcriptions of two teaching sessions were evaluated for evidence of deep learning. All students achieved deep learning and reflexive practice skills. The curriculum model used was the learning outcome‐led model: the congruency between learning outcome, approach to learning and assessment.

One of the traditional branches of Western practical philosophy, Marxist practical philosophy, is still the mainstream philosophy in contemporary China. It provides not only a new understanding of human nature, mind, behavior, and environment, but also an alternative perspective for the study of psychology. It is from this perspective that activity theory in the former Soviet Union and “practice” discussions in China try to integrate Marxist practical philosophy with psychology. Based on these attempts, we advocate the introduction of “practice” into psychology and the understanding of all psychological problems as starting from “practice.” First, “practice” is defined as people’s creative activity and a way of human existence. The structure of “practice” is then divided into three hierarchies: reflexive practice, cognitive practice, and social and cultural practice. Finally, two examples are chosen to explain how to research psychology from the viewpoint of Marxist practical philosophy.

Code Jamming

This paper illustrates the importance of critical reflexivity in guiding socially and ethically responsible participatory research through an analysis of reflexive notes pertaining to the process of a participatory filmmaking research project with children with disabilities. Within this process, numerous ethical tensions emerged in the field regarding the participation of children with disabilities, authenticity of stories shared, navigating facilitator’s voice, issues of representation of child co-researchers, safety and risks associated with sharing everyday realities within the film, and limits to immediate action. The practice of individual and shared critical reflexivity among researchers, and inclusivity of child co-researchers, was central in navigating ethical tensions. This paper makes transparent the process of critical reflexivity within a participatory action research project by highlighting the ethical tensions faced, contextualizing them within cultural practices and power relations, and sharing strategies used to address ‘ethics in practice.’ We end by proposing practical strategies to enhance reflexive research practices in participatory work.

The increase of qualitative research in gerontology invites discussion of the effects of researcher positionality on data collection and analysis. Analyses of the interviewing experiences of three researchers who conducted a qualitative study of aging Asian Americans illustrate the complexities of negotiating “insider” status. Despite the interviewers’ shared panethnic status (Asian) with the participants, they experienced different levels of insider status, which were based, in part, on cultural competence related to cultural norms and practices, age hierarchies, and language. This suggests that qualitative researchers should engage in reflexive practices that consider researcher positionality in relation to research participants. Researchers need to pay attention to the possible implications of cultural competence on negotiating insider status and when gathering and analyzing data, similar to considerations of culturally relevant approaches in practical settings.

The article discusses the definition of reflection as an activity and examines the main factors that determine the kinds of reflection. According to the author of the article, reflection as an activity can be defined by the following formula: the direction of attention to EXPERIENCE for the “detection” of its FORMS and their fixation by means of certain SEMIOTIC TOOLS carried out for the sake of achieving some PURPOSE. In this formulation, the terms “experience”, “form”, “semiotic tools”, “purpose” are understood as parameters, the specification of which sets the description of certain kinds of reflection. In addition, the structure of “detection” participates in the formation of reflection, which consists of the languages of description, conceptual and terminological apparatus, knowledge and other conceptual means of the reflecting subject. Variants for specifying the parameters of the definition are considered in the article on the material of various philosophical techniques (mainly domestic tradition) and a number of general cultural reflexive practices. The author correlates his understanding of reflection with a number of ideas of the Moscow Methodological Circle (MMC), in which reflection techniques were given great importance. In particular, the author schematizes his understanding as a special case of an “act of activity”, the idea of which is the development within the MMC of some of K. Marx’s ideas. In connection with the clarification of the temporal structure of reflection (which is not grasped by schematization of reflection as an act of activity), the author introduces the idea of an elementary cycle of reflection and fixes it in the form of a scheme. In conclusion, the author examines the question of the correlation of reflection and thinking and considers the possibilities of correlating his definition of reflection with the typology of reflection set by the scheme of the thinking-communication-activity-system (proposed in MMC in 1983).

The work of media artist and director Reid Farrington, which primarily combines content from theatre and film, is exemplary of performance that engages with and challenges convergence culture—the shifting, consolidating set of tools of production and distribution, as well as the social and cultural practices that stem from a participatory media culture. Performances such as The Passion Project, Gin and “It,” and Reid Farrington’s A Christmas Carol demonstrate that the mediated and live body are both “inherently theatrical” and read together, both within and across media, with increasing fluidity and cultural literacy. Artists and audiences alike participate in these shifts and shape aesthetics and politics of production and consumption. Thus convergent performance helps to shape a reflexive and contingent historiography and practice of contemporary performance.

At a time when the creation of new ideas and new products is considered more important than ever, this research reconsiders the role of the cultural domain in producing the future. As seen in the case of the twelve-tone technique provided by Arnold Schoenberg, which is considered a significant new one that exerted notable influence on contemporary music but which is explained as a continuation of the past by the composer himself, newness can be understood as a variant inherited from the past and what is embedded in the accumulation of preexisting cultural products and practices. For this discussion, “A Systems Model” suggested by Mihaly Csikszentmihalyi is explored. This paper argues for the significance of the cultural practices and products from the past for the creation of newness. By doing so, this research contributes to balancing the pursuit of newness with the consideration of the value of what is transmitted from the past, and suggests a way to elaborate Csikszentmihalyi’s theoretical model as well.

The purpose of the article is to reveal the specifics of M. Kachur's scientific, cultural, and educational practice in the discourse of realization of life creative ideas, to highlight the significance of the artist’s achievements in the development of Ukrainian civilization processes. The methodology consists of the application of biographical, analytical, historical, systemic approaches, which allowed to comprehensively mastering the main directions of M. Kachur's creativity, to determine their influence on the national culture. Scientific novelty. In the article, for the first time, the achievements of M. Kachur in measuring the implementation of life-creating tasks are explained. Conclusions. M. Kachur's professional practice is the sphere of realization of creative life ideas. They were formed during student years, deepened throughout professional activities, underwent transformations and in accordance with the innovations of humanistic tendencies, were completed in multifaceted areas of work. Mrs. Kachur's work has several main lines: scientific - research of music education problems, articles, and theses reviewing, management of diploma studios, etc.; pedagogical - teaching in educational institutions of different levels (school, college, university, teacher training courses), preparation of methodical publications, repertoire collections, etc.; cultural and organizational - management the structural units of the university, establishing partnerships with leading institutions of higher education; holding conferences, forums, master classes, seminars with the involvement of leader Ukrainian scientists, performers; membership in the jury of competitions, festivals; conducting public social actions, projects, etc. The essential qualities of Myroslava Mykhailivna's artistic life are systematic analysis of reality, conscious direction of efforts to its creative transformation; active interaction with the environment; productivity which manifested itself in solid achievements in all areas of work; constant improvement of own abilities, etc. M. Kachur's creative life significantly influenced the national cultural progress. Many years of master’s successful work is a response to the current humanitarian challenges of the time. The achievements of this personality contributed to the solution of many educational problems, were used in the teaching of her students, who based on the principles of their mentor were producing their own methods and approaches to the content of modern music education.

Introduction. Noble society traditions are not simply a base for Russian multilingual culture; they remain the historical basis of the reproduction of human intellectual capital as a basis of the world organization. In this connection the mechanisms of linguistic personality educational processes within the framework of the noble society are of considerable interest for modern researchers and, in our opinion, they require certain elucidation and some comments. The purpose of the article is to analyse communicative process in the noble environment of the 18th – the 19th centuries as a specific model of personality upbringing. Materials and Methods. The material of the research is Russian fiction, autobiographical literature and memoirs of the 18th and the 19th centuries. The methods used in the article are: method of system analysis of sources, content-analysis method, sociocultural, axiological, phenomenological, hermeneutical and comparative-historical approaches to the study of cultural phenomena. Results. The hypothesis that specific character of linguistic personality upbringing of the second half of the 18th – the beginning of the 19th centuries was closely connected with the tutorship institute as well as with the large scale of home education is empirically confirmed and corroborated. Didactic approach to the noble heirs, aimed at multilingual personality formation quite often came to the readiness of of-springs to freely master both oral and written forms of speech in a foreign language (mainly the French language). Moreover, the aspiration of the pupils to fix and pass their speech and thinking experience in a foreign language as well as the examples of its use in the practice of speech culture and behaviour become the standard of educational processes. Discussion and Conclusions. The results of the research can be used for the development of the syllabuses connected with the history of bilingual teachings, the history of pedagogy and the theory of education, which, from the practical point of view, will be of use for the perfection of the syllabus for institutions of higher education and the improvement of the quality of literary works analysis. The value of the research is in the context analysis.

My research, drawing on interviews with seventeen white working class women in Liverpool, explores the meanings that the women made around Hollywood film musicals in Liverpool in the 1950's, and the significance of those memories in their lives today. The central aim of the thesis is to challenge and expand existing theoretical frameworks for understanding the relationship between class, gender and the consumption of popular culture. The thesis stages a series of questions around the function of qualitative empirical research on audiences for film, specifically the function of empirical research on working class female audiences for popular film, in terms of understanding the breadth of meaning made around cinema in working class women's lives. What the interviews present are a complex array of readings of the musical texts, readings that are located within specific personal, social, cultural and geographical histories. The research contributes to current debates in film and cultural studies. The thesis intervenes in current debates within cultural studies, placing centre stage fundamental concerns around the relative absence of class within contemporary research on popular culture. It contributes to methodological debates within cultural studies through an analysis of the possible methods for researching the lived experience of media audiences. It enters film studies at the site of recent methodological debates around the possibilities and limitations of textual and empirical analysis as a means of accounting for the ways in which audiences make meanings around film texts. It also enters in the midst of the fascinating and important emergence of empirical research that produces ethno- histories of popular cultural practice by investigating the ways in which cinema and film going figure in the daily lives of people. In demonstrating the breadth of meaning of the cinema in working class lives, the thesis also shows the limits of an exclusive focus on film texts. The presentation of situated readings of the musicals within a grounded theorisation of memories of the time and place of their consumption is generative of some new ways of reading specific film texts, the genre in general, and indeed the institution of Hollywood cinema as a whole. vision intersects with the everyday lives of women in transitional Korea, and how the experience of television is further implicated in the formation and transformation of identities. Within the larger socio-historical context of Korean modernity, it explores how_women deal with social change and make sense of their lives and identities with the cultural experience of television in everyday life, mediated by generation and class. This empirical work overall demonstrates the reflexive workings of popular television culture in its multifold manifestations. It reveals how critical ordinary women are in their engagement with television and how reflexivity actually operates in the variegated settings of their everyday lives. The thesis therefore argues for reflexivity at work: Reflexivity is constitutive of the experience of modem television. The practice of reflexivity is a defining characteristic of the experience of television, and television culture today has become a critical condition for reflexivity. Specifically, the thesis emphasizes the social dynamics of different forms of reflexivity with which to organize the project of self-identity, and the significant role of television as a resource for reflexivity. Reflexivity is organized around the axis of generation oriented toward different directions, which are the tradition-directed, the inner-directed, and the other-directed. The dialectical nature of the reflexivities of each generation is a push-and-pull of different tendencies towards modernity. Tradition in everyday life is now under threat, beginning to dissolve by the experience of modernity. As a consequence, the reflexive organization of the self becomes an inevitable unfinishable project to be worked at, and television, as historically-situated cultural experience, is integrated into the project of the self Television is an important resource for reflexivity in modem everyday life, which stimulates ordinary women to research their own lives and identities for a journey of hope.

Originality is a necessary part of creativity, but creative things are more than just original. They also solve a problem, or more generally are somehow fitting or appropriate. Yet previous research found an inverse relationship between ratings of originality and ratings of appropriateness. The present investigation employed a different methodology — it focused on the generation of ideas instead of judgments about them — to reexamine the relationships between originality, appropriateness, and creativity. Undergraduate students (N = 170) from two large universities received either realistic or unrealistic divergent thinking tasks. These were given with one of four types of instructions. These asked them to give (a) as many ideas as possible (which is the standard type of instruction for these kinds of tests), (b) only original ideas, (c) only appropriate ideas, or (d) only creative ideas. Brief definitions of originality, appropriateness, or creativity were also provided. Comparisons of the four groups indicated that there were significant differences between the different kinds of tasks, with the realistic set eliciting more appropriate ideas than the unrealistic, but the unrealistic tasks eliciting more original and varied (flexible) ideas. There was an interaction indicating that the magnitude of the impact of the instructions varied across tasks. Correlational analyses indicated that the correlation between the originality and appropriateness scores was the lowest among all possible inter-index relationships (only 7% shared variance). Future research and practical implications are explored.

Maureen Harris has written an early childhood music program that is easily incorporated into the classroom routine. Written for the early childhood educator-experienced or trainee, musician or nonmusician_this book describes a music-enriched environment for teaching the whole child. Now educators can put research into practice and benefit from the wealth of knowledge and research acquired over the centuries on the power of music. With easy-to-follow lesson plans, sing-along CDs (sung in a suitable pitch for the young child), and supporting literature, educators can gain musical confidence as they explore research on child development, learn how to create a music-enriched environment and build musical confidence, see a curriculum time-frame, and follow lesson plans with ideas for further musical creativity and exploration. In addition, the multicultural section shows how to set up an early childhood music setting that maximizes the benefits of a variety of cultural values and practices. As you read this book you will begin to see music as a biological human need, an incredible vehicle for enhancing intelligence, and a means to connecting and uniting people around the world.

The following bibliography offers readers a glimpse into the breadth of research on young children and imagination and its impact on culture, research, and education practice. The writings are organized into seven sections: the Intertwining of Imagination and Creativity: A Symbiotic Relationship, Children and Imagination, Teacher Education: Strategies, Lessons, and Practice, Kieran Egan and the Theory of Imaginative Education, Imaginative Education Publications, Journals, and Handbooks. In many disciplines, the ideas of imagination and creativity have been conflated. This bibliography offers some key readings to help distinguish these two terms, while also confirming their interconnectedness. This complexity of definitions and usage of terms is more fully explored in the next section, which presents a variety of research projects looking closely at the role of imagination in early learning, play, and creative endeavors. The importance of imagination for young children’s development is further explored in the teacher-training section, where scholars, researchers, and educators share practical and theoretical suggestion for in-service teachers and current practicing teachers. This focus on education is deepened in the following two sections, focusing on a particular educational philosopher, Kieran Egan, and his educational theory, Imaginative Education—one of the most well-known educational theories. Following the major works about the theory of Imaginative Education written by its designer and creator, Kieran Egan, the bibliography collates articles that directly engage with the theory, in practical and theoretical settings, from early childhood to postsecondary education. Finally, the last two sections offer the reader a list of journals and handbooks about children’s thinking, education, and imagination.

The article summarizes the scientific problems that became the subject of the seminar-discussion «Soviet existence on the eve of the formation of a totalitarian and authoritarian framework» (May 2020), conducted by members of the research team of the Russian science Foundation grant № 20-68-46013. The team of authors consisting of leading scientists (doctors of sciences and young researchers (PhD and graduate students) presented the results of a research grant, applying to the disclosure of the origins of the concept «soviet existence», to understanding the content of an integrative phenomenon of soviet being and its representation in artistic practice. On the basis of the conducted collective research, the primary concepts of Russian culture of the XIX and XX centuries are analyzed, which allowed us to find a certain continuity of semantic complexes, spiritual, historical and political prerequisites and realities, artistic creativity and everyday practices of the pre-soviet and soviet periods of russian culture. The soviet being is designated as a living and paradoxical space, which is reflected in the works of representatives of soviet culture, religious and pseudo-religious practices, metamorphoses and transformations of the daily (everyday) existence of the individual. Special attention is paid to the representation of soviet existence in artistic creativity, the evolution and transformation of ideas about the existence of the individual in works of different types of art. There are designated the main trends of perception of the real and ideal world, the circle of characters (images) and their symbolic interpretation, basic plots and themes. The article presents the content of the research conducted under the grant, also it outlines theoretical and methodological approaches to further understanding the phenomenon of «soviet existence» in philosophical, historical, cultural and artistic discourses.