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und politische Identität in fröhen Hochkulturen [Cultural memory. Scripture, memory and political identity in early cultures]. München: C.H. Beck. Berek, M. (2009). Kollektives Gedächtnis und die gesellschaftliche Konstruktion der Wirklichkeit. Eine Theorie der Erinnerungskulturen [Collective memory and the social construction of reality. A theory of memory cultures]. Wiesbaden: Harrassowitz. Boschki R., Reichmann B., & Schwendemann W. (2015). Towards a new theory of Holocaust remembrance in Germany: Education, preventing antisemitism, and advancing human rights. In

REFERENCES Anderson, Benedict. Die Erfindung der Nation. Zur Karriere eines folgenreichen Konzepts [first published in 1983 as Imagined Communities: Reflections on the Origin and Spread of Nationalism ]. Frankfurt and New York: Campus, 2005 Asahi Shimbun 朝日新聞編. Sensō-sekinintotsuitō – rekishitomukiau 1 戦争責任と追悼 - 歴史と 向き合う1 [War Guilt and Remembrance – In the Mirror of History 1]. Tōkyō: Asahi Shimbun, 2006, p. 201 Assmann, Aleida. Der lange Schatten der Vergangenheit: Erinnerungskultur und Geschichtspolitik . München: Beck, 2006 Braun, Maria. “Warum sich

Anniversary of the Liberation of Ravensbrück. Journal of Holocaust Education 10 (2): 71–78. GROSS, Jan Tomasz (2000): Sąsiedzi. Historia zagłady żydowskiego miasteczka . Sejny: Pogranicze. Grosswald Curran, Vivian (2003): The Politics of Memory / Errinerungspolitik and the use propriety of law in the process of memory construction. Law and Critique 14, 309–323. Grundlingh, Albert (2004): Refraining Remembrance:The Politics of Centenary Commemoration of the South African War of 1899–1902. Journal of Southern African Politics 30 (2): 359–375. Gutwein, Daniel (2009


The paper deals with the memorial of Vasil Biľak that was unveiled in Krajná Bystrá in Eastern Slovakia in February 2015. However, Vasil Biľak was considered as a very negative figure for his participation at the Warsaw Pact occupation in 1968. The paper points out some gaps in the remembrance policy in Slovakia after the fall of communism and also some inconsistency that accompanied the process of the coming to terms with the totalitarian history of Slovakia.

Erratum to: DOI: 10.1515/jbe-2016-0005 Title: Remembrance and Architecture the House of Fates Project Author(s): Benárd, Aurél YBL Journal of Built Environment The Journal of Szent István University, Ybl Miklós Faculty of Architecture and Civil Engineering, Volume 4, Issue 1 (Jul 2016) p.49-59. The titel of the paper has two parts by the intention of the author. The titel is Remembrance and Architecture , whilest the subtitel would be The House of Fates Project. For the reader’s convenience, the corrected titel appears as: Remembrance and

ANVIL 30 (2) September 2014 DOI: 10.2478/anv-2013-0018 3 Remembering Well: the role of forgiveness in remembrance Lesley Bilinda Abstract It is twenty years since the horrendous genocide in Rwanda. This article reflects on the nature of forgiveness by a person who experienced terrible personal tragedy as her husband was killed in the genocide. Lesley reflects on what it means for her to remember well and to remember rightly. She reflects on what it means now to practice forgiveness and draws on the gospels for some helpful and potentially



The article considers the influence of acts of terror and war crimes on both the development of tourism, or a lack of it. Terrorist attacks, the victims of which are tourists as well as local citizens, constrain or completely prevent tourism development. Terrorism is then a barrier to the development of the tourism economy. With time, however, memory of the crime and its victims, due to documentation and commemoration, may become an impulse to organize spaces which will be included in tourism

The Importance of Perception and Consciousness for E-Learning

The article presents the results of a research on perception during the learning process of adults in a virtual environment. The aim of the research was to determine why the process of e-learning introduction in Slovenia has been slowed down. Perception and its effects upon learning are important on the conscious as well as on the unconscious level but they have not been given as much attention as in the classical learning environment. Disturbed perception which results from the lack of expertise in preparation of the e-environment is a serious obstacle for learning. The objective of the research was to find solutions for the actual teaching practice but at the same time the research emphasizes that conclusions cannot always be made on the basis of former facts about students. We have to bear in mind that the impact of technology changes the students as well. Lack of professional arguments and of good practice leads to pedagogical conservatism which can cause the school's progress, also in the area of adult education, to be directed in the opposite direction from the one required by business processes in the organizations in which the adult students come from or in which the students are employed after they finish their education.


The actor, through his/her memories, images and own representations, will confer the perfect resonance to his/her gestures and scenic actions. Linked to the performance, the representation, the mental images and the internal view give life, uniqueness, beauty and truthfulness to the part, construct the scenic imagery in an expressive and original manner. The actor, in his/her creation, uses on one hand his/her memory (sensorial, visual, auditive, gustatory, olfactive, kinesthetic, imagistic, voluntarily cognitive, involuntary and affective) and his/her past experiences and, on the other hand, sensations, perceptions, representations and reproductive imagination. Memory and imagination, the representations and mental images, thus become primordial tools in scenic creation, having the extraordinary power of updating on an intuitive level, relevant and significative, the actor’s experiences. If through memory the actor has the possibility of reproducing, evoking and experiencing sound, image, situations, spaces, circumstances and relations from his/her prior experience, through representations, images and his/her reproductive memory, he/she detaches him/herself from this concrete reality and is able to create a new world, imaginary and fantastic. The actor has to be aware of the tools he/she works with, has to develop his/her flexibility and the mobility of his/her imagination through the reconstruction and recombination of certain representations, by elaborating images: evoking an image, studying it in detail, completing, developing and direct influence of the image through subtle intervention, suggestion and collaboration, as to incorporate it in his/her scenic performance.