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Julie Fedor

This article explores a key claim underpinning Russian official memory politics, namely, the notion that Russia’s past (and especially the role it played in the Second World War) is the object of a campaign of “historical falsification” aimed at, among other things, undermining Russian sovereignty, especially by distorting young people’s historical consciousness. Although “historical falsification” is an important keyword in the Kremlin’s discourse, it has received little scholarly attention. Via an analysis of official rhetoric and methodological literature aimed at history teachers, I investigate the ideological functions performed by the concept of “historical falsification.” I show how it serves to reinforce a conspiratorial vision of Russia as a nation under siege, while simultaneously justifying the drive toward greater state control over history education.

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Making the Past Perceptible

Reflections on the Temporal and Visual Enframings of Violence in the Museum of Memory in Uruguay

Susana Draper

The "museums of memory" (museos de la memoria) have become ambiguous and con ictive sites that articulate the demand for remembrance and oblivion as regards the recent past of state authoritarianism and dictatorships in Latin America. This article seeks to disentangle ways of reading one of these spaces of memory, the Museo de la Memoria in Montevideo, Uruguay, paying special attention to a particular exhibition wing entitled The Prisons and to a temporary art installation by Daniel Jorysz, entitled Ver … dad, exhibited in an open space adjacent to the museum from September to November 2010. Analyzing the museum collection and establishing a counterpoint with the art installation, the article searches for the ways in which (hi)stories are made perceptible within these practices both on the inside and outside, and expose the conflicts that arise in the process.

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Introduction

Remembering the Second World War in Post-Soviet Educational Media

Barbara Christophe

who reconstruct in detail the manipulative ways in which the Putin administration, unhampered by any serious concern for the truth, puts practices of recalling the past into the service of its increasingly authoritarian policies. Ilya Kalinin, 25 for

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Introduction

Textbooks in Periods of Political Transition after the Second World War

Kira Mahamud Angulo and Anna Ascenzi

to leave authoritarian regimes behind while endeavoring to build and consolidate democratic systems and societies. In their recent study of education in Central Asia, Pinar Akçali and Cennet Engin-Demir state that the curriculum challenges facing all

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Girl, Interrupted and Continued

Rethinking the Influence of Elena Fortún’s Celia

Ana Puchau de Lecea

girlhood and an authoritarian reaction by grown-ups and educational or religious institutions towards personal empowerment. Conclusion Seen in its historical context, Elena Fortún’s “Celia and Her World” remains a unique and entertaining children’s book

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Hieronymus Purwanta

under the authoritarian civilian leader Sukarno. The seizure of power by the military under Soeharto in 1967, involving a bloody coup, thus represented a political deviation from democracy to totalitarianism. To legitimize this drastic and sudden change

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“Russia My History”

A Hi-Tech Version of an Old History Textbook

Olga Konkka

another tool for the authorities’ self-legitimization strategy. 46 Some scholars and journalists were stunned to discover the project's Orthodox, monarchist, and authoritarian approach to the national past. According to the Free Historical Society, the

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Ander Delgado

pedagógica en el País Vasco (segunda mitad del siglo XX),” Sarmiento , 9 (2005): 85–103; Tamar Groves, “Everyday Struggles against Franco’s Authoritarian Legacy: Pedagogical Social Movements and Democracy in Spain,” Journal of Social History , 46 no. 2

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Working with the Cold War

Types of Knowledge in Swedish and Australian History Textbook Activities

Niklas Ammert and Heather Sharp

these historical skills. Education in Sweden In Sweden it became obvious in the early 2000s that attempts since the 1970s to eliminate traditional education—especially trying to label teachers’ pedagogical strategies as unmodern and authoritarian

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

effects as part of a work’s larger performative, narrative, or thematic framework. This was because Eisenstein’s early definition of cinema was that it was impactful montage construction with authoritarian implications and his goal was to influence the