Succession Of Ideas Research Articles

The stomatological care of schoolchildren in the Soviet Russia in 1920s: Succession of ideas

The article considers historical interaction between the Soviet Russia and the Weimar Republic related to prevention of caries in children in 1920s and the role of P. G. Dauge in it. The methodology of German Professor A. Kantorovich with minor alterations was adopted to be applied in organization of dental care of schoolchildren in the RSFSR. In the Soviet Russia, the practical implementation of planned oral cavity sanation in children started on a national scale only in second half of the 1920s. It was caused by skeptical attitude of dentists to methodology of "planned sanation" in conditions of the Soviet Russia.

Beats Go On

Beats Go On

THE LAST ALBUM OF LEONARD COHEN AS A TEXT TESTAMENT

Leonard Norman Cohen (1934-2016) is peculiar among singer-songwriters. His last album “You Want it Darker” may be characterized by a definite line of moves of the recipient and it’s results. That's why the investigator has three text units corresponding to three phases of reception: 1) name of the author / title of the album / names of the tracks making the whole text massive terminated as “preliminary text “ (“pretext”); 2) combination of songs as an indiscrete text massive marked as a “global text” (“macrotext”); 3) text of one song with deep “in-reading” for the actualization of implicit author’s senses, messages. Such texts may be more than one. But the recipient always concentrates upon one of them, and this central unit is named conditionally a “text of a song”. The reception of the album is completed at this phase, and independent reception of the recipient begins or continues simultaneously. Accordingly, works by L. Cohen may be learned as a global context including all albums, poetic collections and prose. Albums are the basic object because Cohen is famous as a singer first place. Yet each album is connected with another one, because it is characterizes by a theme relationship, succession of ideas, sense connections. Each album is a complicated structure, communicative sign of integral essence, and it is actualized on different levels of reception. The last album of Cohen is addressed not to a limited category of recipients, but to the whole mankind as a wishing for everybody to choose their own decision.

A evolução da educação midiática no Reino Unido: algumas lições da história

A educação midiática no Reino Unido possui uma longa história, e tem sido um elemento constante no currículo escolar por cerca de 25 anos. No entanto, essa temática tem enfrentado desafios crescentes na última década. Nesse artigo, pretendemos explicar esses desenvolvimentos, não menos importantes, na esperança de que os educadores espanhóis possam evitar alguns dos obstáculos que temos encontrado. Ao fazê-lo, esperamos apresentar a história da educação midiática não apenas como uma sucessão de ideias, mas também para explicar por que determinadas abordagens educacionais surgiram em circunstâncias históricas particulares.

General Pitt-Rivers and the Art of Benin

I much enjoyed Kathryn Wysocki Gunsch’s historiographical discussion in African Arts 46 (4) of the reception given to objects from Africa in the early twentieth century (Gunsch 2014). There is a huge amount of work to be done to reassess the work of our predecessors, which—aside from the intrinsic interest of such work—helps us reassess our own efforts, our own assumptions and preconceptions; and Gunsch’s article demonstrates what can be done when the available resources are put to good use. Although I do not necessarily disagree with Gunsch’s general conclusions about the differences between the reception given to African art in Germany and the UK, however, I do want to draw attention to an aspect of her thesis that—I should argue—is in need of revision. Part of Gunsch’s argument consists of a comparison between the work of Felix von Luschan (1854–1924) in Germany and that of Augustus Henry Lane Fox Pitt-Rivers (1827– 1900) in England. Gunsch provides a convincing account of von Luschan’s work, supported by references to the relevant literature, but her account of Pitt-Rivers’s work is unreferenced and misleading. Gunsch writes: “In the largest British collection of Benin works, at the PittRivers Museum, Lieutenant-General Augustus Pitt-Rivers arranged all of his African pieces in a ‘chronological’ order based on their perceived sophistication” (Gunsch 2014:26). This claim invites unpacking. To begin with, Gunsch fails to make clear to which museum she is referring. The well-known Pitt Rivers Museum (without a hyphen), where I work, was founded by the University of Oxford in 1884 to house a collection of some 26,000 antiquarian, archaeological, ethnographic, and folkloric artifacts given to it by General Pitt-Rivers. Unsurprisingly, its founding collection did not include anything from Benin, which was not sacked by the so-called Punitive Expedition until thirteen years later. Nor did General Pitt-Rivers pass any Benin objects to the Oxford museum after he began acquiring them in late 1897. Instead, as with all his post-1884 acquisitions, he added them to his “second,” private collection, which he had begun to assemble even before his “first” collection was transferred to Oxford. This “second” collection was housed in Pitt-Rivers’s private museum (often referred to as the Pitt-Rivers Museum; that is, with a hyphen) in Farnham in Dorset and elsewhere on his estate. After Pitt-Rivers’s death in 1900, this private collection remained in the hands of the family until it began to be sold off in the mid-twentieth century. The collection as a whole, and General Pitt-Rivers’s Benin collection in particular, is thus scattered in public and private collections around the world (including, for example, the Museum of Fine Arts, Boston, which recently acquired thirteen ex-Pitt-Rivers Benin pieces on loan from Robert Owen Lehman; see Geary 2013).1 It was thus in the private Pitt-Rivers Museum in Farnham, and not in its un hyphenated namesake museum in Oxford, that General Pitt-Rivers’s collection of objects from Benin was displayed. Indeed, it was—in part at least—to display the Benin collection that a new gallery (Room 9) was added to the museum in 1898.2 It apparently took some time for the collection to be installed. It was not referred to in the second edition of the Short Guide to the Farnham museum (which is undated but is known to have been printed in 1900), and was not actually completed until some time after Pitt-Rivers’s death on May 4, 1900 (Saunders 2014:219). As for how it was exhibited, it is difficult to be precise, as no photograph or description survives. What is clear from the records, however, is that the Benin collection was displayed in a separate set of cases. It was not part of an arrangement of “his African pieces in a ‘chronological’ order based on their perceived sophistication.” Rather, it was a self-contained display designed to draw attention to the collection, a catalogue of which Pitt-Rivers prepared with the title Antique Works of Art from Benin (Pitt-Rivers 1900). Moreover, it never was the case that Pitt-Rivers’s “African pieces” were arranged “in a ‘chronological’ order based on their perceived sophistication.” Famously, Pitt-Rivers’s favored mode of display was what he called “typological”; that is, objects arranged by type in evolutionary series—so that all the harpoons, say, or fire-making tools were displayed together in series supposedly demonstrating the succession of ideas Page 1,634 in Volume 5 of the manuscript catalogue of Pitt-Rivers’s “second” collection.

Continuity and succession in contemporary Russian philosophy

The article provides a comprehensive view of the problem of continuity and succession in contemporary Russian philosophy by considering the filiation of ideas as well as external factors of historical, socio-cultural, mental, and psychological nature. Examined as well are factors both conducive and detrimental to the continuity and succession of ideas. The major part of the article concerns the most important philosophical schools in contemporary Russia (namely, Marxism, cognitivism, postmodernism, and contextualism) and offers an analysis of their ideological genealogy within the history of Russian and Soviet philosophical thought.

Problematics of political authority within Islam

This paper sets out to disentangle what is discernible from the historical record and the evidence from legendary accounts of the spread of Islam by conquest. It argues that rather than by the sword, Islam came to Spain through the development and succession of ideas. The paper further deconstructs the theory of Islamic governance, attributing forms of rule not to Islamic teachings but to prevailing power structures and struggles. It is contended that what is known of specific incidents reaches us through the narration of the incident, rather than by its physical existence. If a serious event takes place, it reaches us through a serious Hadith (like the Prophet's Hadith), but if the incident is not very significant or did not take place at all – but an authority wants it to have happened – it reaches us as a legend. The legend starts where history ends, and takes its place to complete the story's events. History depicts and legend narrates.

Maturing Human Minds and Early Subsistant Technoevolution: A Synopsis

Without exception, people throughout the world depend on evolving nonsomatic forms to obtain food on a reliable basis. This is a cultural universal. But there is no word in English to identify the process or the associated artifacts. My proposal was subsistant, “a technological form used to obtain edibles on an immediate or delayed basis” (e.g., Oswalt: 1973, 24). The word was stillborn and a comparable concept has yet to emerge. So why has this term not been adopted? In fact, why have “subsistants” not become an anthropological subfield of study? This has long puzzled me, especially since the social science community has an ever-expanding interest in the lives of our Homo ancestors. To address these questions, a brief overview of artifact studies in the relatively recent past is fitting. With the rise of modern anthropology in the late 1800s, the evolution of material culture became a prominent research subject. One major pioneer was Augustus Lane Fox (1827-1900) whose extensive personal artifact collection included commonplace archaeological and ethnological examples. His goal was to formulate an evolutionary classification to trace “... the succession of ideas by which the minds of men in a primitive condition of culture have progressed from the simple to the complex, and from the homogeneous to the heterogeneous” (Lane Fox: 1875, 294). Acceptance of his goal diminished shortly after he established it, but it reemerged in the 1950s and continues into the present. From another anthropological perspective, artifacts are neglected. Michael Brian Schiffer (1999, 5) emphasized “... material culture studies are largely marginalized in the major social science disciplines. This can be easily shown by a perusal of prominent literature in psychology, sociology, and anthropology.” However, he also stated that, “... all studies in the social and behavioral sciences ought to attend diligently to artifacts. Evidently, this is not happening - even in sociocultural anthropology.” Thus, the importance of material culture and artifacts may be seen as existing in stark contrast to the attention actually paid to this anthropological subfield of study. In fact, only a very few researchers endeavored to catalog the fundamental elements of material culture and provide a plausible explanation for the increased complexity found in the empirical, archeological record. Yet, I thought that such a foundational theory that included both aspects was well worth investigation and postulation.

Muddying the Waters

<p>This paper examines the history of one man's engagement with one of the most dominant intellectual ideas of the second half of the nineteenth century—evolution—and the way this was given physical form in the display of his collections up to 1884. It will also discuss the subsequent changes wrought to his work by his museum descendants at the Pitt Rivers Museum in Oxford.</p><p>The collection does not contain any considerable number of unique specimens, and has been collected during upwards of twenty years, not for the purpose of surprising any one, either by the beauty or value of the objects exhibited, but solely with a view to instruction. For this purpose ordinary and typical specimens, rather than rare objects, have been selected and arranged in sequence, so as to trace, as far as practicable, the succession of ideas by which the minds of men in a primitive condition of culture have progressed from the simple to the complex, and from the homogeneous to the heterogeneous.</p>

The Church, the Factory and the Market

Shifting styles of doing psychology reflect assumptions from the culture at large. In the first section, three cultural metaphors for the science and profession of psychology are put forth—the church, the factory and the market. The picture they provide of psychology is then contrasted with the common histories of psychology as a succession of ideas. The metaphors are thereafter invoked in a discussion of psychology as a postmodern religious, industrial and commercial collage. What counts in a postmodern age is less the truth claims of thedifferent psychological approaches than their marketability. Potentialities of a pragmatic anda culturally situated psychology are discussed in relation to challenges to Western psychologytoday raised by the psychological profession and the globalization of culture.

Bad Company: On the Theory of Literary Modernity and Melancholy in Walter Benjamin and Julia Kristeva

John Lechte's lucid and enlightening recent book on Julia Kristeva draws what has already become a long and rich record in her work as a continuum of development. He describes a succession of books and essays, and a succession of ideas and polemical positions to show her as an exemplum of history in which he can turn back layer on layer in the sequence of changes. But while the metaphor of movement through successive stages, of additions to a record of territory crossed and explored, is a convenient device in composing a scholarly work, the idea of progress and success implicit in that figure runs counter to the material he actually presents. The image of succeeding metamorphoses does, indeed, create a vivid impression of an individual history, but it is part of the rhetoric we use to describe the heroic labors of writers from some other age, not our own. The material suggests that the value of Kristeva's achievement lies at least as much in the hesitation, retrenchment, and unmaking of her positions. Perhaps more than any of the other members of the Tel Quel group, she invites the reader to give up the pleasures of contemplating the upward and outward sweep of an unfolding persona. She is less inclined than any-

‘n “Allegoriese” lesing vanLady Anne

Summary In this article an “allegorical” reading of Antjie Krog's Lady Anne is attempted. The allegorical point‐for‐point similarities between Antjie and Anne include thematic (feminism and revolution), structural (both characters have concluding poems) and narratological (a “story” of concern about injustice supplanted by despair about art's function) resemblances. This allegorical process could be explained as the succession of abstract ideas; the portrayal of these ideas in a text; the retrieval of these ideas by the reader and then the potential application of these ideas in the life of the reader. This model of interpretation as allegorical provides an inadequate explanation of especially the metafictional elements of Lady Anne and therefore postmodernist critics such as De Man (allegory as the incomprehensible nature of the text); Jameson (the inevitable use of known explanatory models in the interpretation of texts) and Derrida (the term “differance” enables a synthesis of the viewpoints of De Man ...

God and Man, World and Society: The Last Work of Eric Voegelin

Voegelin's magnum opus (Order and History) was concluded with volume five, a slim book of only two chapters (In Search of Order [Baton Rouge: Louisiana State University Press, 1987. Pp. 120.]). The original plan called for six volumes, of which three were published in 1956-57. The fourth was to be on "Empire and Christianity." Instead, volume four, titled The EcumenicalAge and published in 1974, took a direction other than announced. Between it and volume five, a number of great and important essays were written, not all yet published: "Equivalences of Experience and Symbolization in History," "The Beginning and the Beyond," "Wisdom and the Magic of the Extreme." That last volume of Order and History cannot be fully appreciated and understood without taking into account what Voegelin said in volume four as well as in these great essays, two of which bear the subtitle, "Meditation" How far back must one go to understand Voegelin's work as a whole? There are a number of books published in German before Voegelin came to this country. There is a monumental, as yet unpublished history of political ideas which was all but completed when, around 1948, he decided that accounting for the succession of ideas was a less-worthy enterprise than another one, which he announced