This article traces the developments within history textbook research as presented at the 2009 conference of the International Society for History Didactics (ISHD), held in cooperation with the Georg Eckert Institute for International Textbook Research in Braunschweig, Germany. The article claims that significant developments reveal school historiography to be a challenged area for history didactics. Key concepts and theoretical frames require further discussion in order to develop history didactics not only as an area for social and political responsibilities but also as a theoretical discipline.
Issues and Methodologies toward a School Historiography
Maria Repoussi and Nicole Tutiaux-Guillon
Rethinking the Politics of Engagement
Xuan Thuy Nguyen
Mohanty, I begin by problematizing the homogenized concept of girls with disabilities in human rights discourses and then suggest alternative methodologies as a way into understanding the experiences of these girls. To do this, I demonstrate how my
Heather Fitzsimmons Frey
to learn from them, and, at the same time, improve the ethics of carrying out research. Ethical Methodology A central focus of research in the field of contemporary girlhood studies is on ethical methodology. Caroline Caron writes, “[G]irlhood studies
. Indeed the format of the author-meets-critics panel and the target article symposium embody the very methodology and central values that the book seeks to describe and defend—including openness to criticism and the pursuit of knowledge as a collaborative
Philip J. Hohle
is both a theoretical perspective and a methodology (SMM). Simply stated, a person will encounter situations in life that present gaps—impediments that prevent one from moving forward. A person may become confounded when received messages or observed
Methodologies and Practicalities
provided the starting point for considering methodology and designing schema for different types of qualitative research methods such as content analysis, focus groups, and interviews. Most significantly, perhaps, the collection has allowed the presentation
This article explores history teaching in Albania, with particular emphasis on educational and methodological aspects of new history textbooks published after the liberalization of the school textbook market in 2008. National history textbooks serve as a basis for the assessment of changing educational principles and methodologies in history teaching in terms of five qualitative factors: educational aims, teaching techniques and methodologies, historical narratives, visual materials, and sources. The article thus assesses the degree to which textbooks fulfill their educational function and help to put learning theories into practice. The author also places the revision and reevaluation of national history textbooks in Albania in context by comparing them to the progress of Kosovo's recently established educational system.
Marnina Gonick and Susanne Gannon
In June 2011, seven feminist academics gathered to spend a week working together on a collective biography workshop in a small resort town, called Hawk’s Nest, in New South Wales, Australia. Some of us were senior faculty with prior experience with the methodology of collective biography, others were freshly minted or about to be minted PhDs who were totally new to the research methodology. Some of us knew each other from other contexts, and others were meeting for the first time. We were from five different university institutions, working in a range of fields in schools of Education.
A Reply to Critics
In this reply to four commentaries on my book, Hollywood Aesthetic: Pleasure in American Cinema, I address several conceptual and methodological issues raised by the respondents. Those issues include the book’s focus on aesthetic pleasure; the functions of narrative, style, ideology, and genre in Hollywood cinema; the relationship between ideology and aesthetics; the use of scientific research in the humanities; normative aesthetic evaluations; real versus hypothetical spectators; and the practices of aesthetic film analysis.
Most films, most of the time, are affectively unified. What I call “synesthetic affects” are orchestrated in an attempt to provide a holistic affective experience congruent with the film's unfolding narrative and thematic concerns. Yet Terrence Malick's The Thin Red Line elicits contradictory or incongruent affects, such incongruence neither being justified by genre conventions, “excess,” irony, nor stumbled upon through incompetence. The Thin Red Line elicits incongruent emotions for the purposes of generating an experience of rumination and wonder. The study of such incongruent emotions, still in its infancy, raises important methodological issues about the study of mixed emotions and the conventions for mixing affects in the cinema.