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Doing Memory

Teaching as a Discursive Node

Alexandra Binnenkade

This article outlines the “discursive node” as an approach to a cultural analysis of how memory is being done in history classrooms. Teaching is a practice embodied in the interactions between teachers and their audiences, between texts, imagery and institutional formations, and between material and immaterial participants in an activity that entails not only knowledge but also emotions, experience and values (Henry Giroux). Discursive nodes are useful metaphors that enable research of a phenomenon that is ontologically and empirically fluxional, heterogeneous, unstable, situative and fuzzy—memory.

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The Riddle of a Common History

The United States in Mexican Textbook Controversies

Mauricio Tenorio-Trillo

By identifying two general issues in recent history textbook controversies worldwide (oblivion and inclusion), this article examines understandings of the United States in Mexico's history textbooks (especially those of 1992) as a means to test the limits of historical imagining between U. S. and Mexican historiographies. Drawing lessons from recent European and Indian historiographical debates, the article argues that many of the historical clashes between the nationalist historiographies of Mexico and the United States could be taught as series of unsolved enigmas, ironies, and contradictions in the midst of a central enigma: the persistence of two nationalist historiographies incapable of contemplating their common ground. The article maintains that lo mexicano has been a constant part of the past and present of the US, and lo gringo an intrinsic component of Mexico's history. The di erences in their historical tracks have been made into monumental ontological oppositions, which are in fact two tracks—often overlapping—of the same and shared con ictual and complex experience.

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Ted Nannicelli

sketch out some ideas about the ontology of art and of cinema in particular. In their explorations of the ontology of art, many philosophers have found it helpful to think about some arts, such as painting, as having “single instances” and other arts

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Queering Virginity

From Unruly Girls to Effeminate Boys

Eftihia Mihelakis

) rather than the ontological (or essentialized) question of virginity” (192). They succeed in shedding light on representations of “unruly women” (199) such as Catalina de Erauso (1592–1650), soldaderas (female soldiers) of the Mexican Revolution (1910

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Dayna Prest

the affective turn in feminist studies; it seeks to “explore the ontologically shifting space of bodily thresholds, stickiness between and within bodies, and the in-betweenness of processes of being/becoming” (139). As a feminist methodology

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David Bordwell

the text, as ontologically required by the nature of narrative in general. By this sort of account, Swan Lake has a narrator, who “tells” us the tale through dance and music, as well as an unseen implied author whose values may be at variance with

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Empowering Critical Memory Consciousness in Education

The Example of 22 July 2011 in Norway

Alexandre Dessingué and Ketil Knutsen

consciousness can entail. The focus is predominantly on the epistemology and ontology of history via an emphasis on pupils learning about the past by interpreting sources from the past 14 and by learning the role and importance of history for us and society. 15

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David Davies

generally. These problems for cinema would include the following: 1) Ontological: What kind of thing is a work of cinematic art? What are the identity and persistence conditions for such works? What distinguishes cinematic artworks from other works of cinema

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Jerrold Levinson

levels, if they are conceptually and ontologically distinct, as it seems they are, and as Smith allows them to be? This is far from clear. An example offered next, of phenomenology being corrected by empirical psychology, presumably helps with this

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Catalin Brylla and Mette Kramer

, adapts, expands, or revises these pioneering studies. Such a discourse would need to go beyond the much-rehearsed ontological question of what documentary is and semiotic arguments about the indexical relationship between representation and represented