Letteratura scientifica selezionata sul tema "Pathfinder Adventure"

The article examines the source value of the Soviet popular magazines “Ural Pathfinder” and “Seeker”. First of all, the author considers the social and moral-political conditions in which these magazines were created. It is emphasized that both publications appeared at about the same time, at the turn of the 1950s and 1960s, at the beginning of the so-called “Golden age” of Soviet science fiction, when a galaxy of young and active science fiction writers entered the arena of literary life. The appearance of magazines was a response to the request of Soviet readers, first of all, the intelligentsia, who needed new publications of science fiction and adventure themes. The content of these publications was also analyzed. There were differences between the magazines. The “Ural Pathfinder” was not only a literary and artistic publication, but also a popular scientific, historical, geographical, and local history publication. “Seeker” was a literary supplement to “Around the world”. Also, over time, by the 1980s, magazines acquired different ideological colors in the eyes of the Soviet intelligentsia, which, however, did not affect their popularity. At the end, the research results are summarized. In relation to the history of the intelligentsia, the source potential of magazines is limited by a number of factors. Among them, censorship restrictions and ideological divisions among the Soviet intelligentsia occupy an important place. However, the analyzed publications can serve as sources on the following aspects: the history of the Soviet press, primarily popular publications; the development of regional journalism; coverage of local history and environmental issues, issues of youth education (based on the materials of the “Ural Pathfinder”); the composition of the authors of fantasy and adventure works, their plot component.

Card, Orson S. Pathfinder. New York: Simon Pulse, 2010. Print. Two warnings are in order before you read the first line. It is long (657 pages) and just the first in a series. Warnings are offered because the story is so completely engrossing that your sense of time will be altered. While you are in the story, time will speed up or slow down with the pace of the story and you will want to linger in some passages to figure out what is going on but speed through others to find out what will happen. When you are away from the story, your sole thought will be how to get back to it. Hours will pass in seeming minutes and minutes will linger for hours. And, as you approach the last few pages with the disappointment that comes when a great story ends but the satisfaction that all the loose ends will be tied up, a twist gets thrown in to make you desperate for the story to continue. These are the likely reactions for those who love science-fiction fantasy stories set in a future that is more like the past, with multiple story lines that converge and diverge, and characters who discover they have abilities that seem far-fetched yet somehow possible if only we knew a few secrets and had the will-power to practice them. This is a story about time travel and intrigue where people are not simply good or bad; in fact, each character is both with the ultimate judgment falling on the reader. The typeface splits the novel into two strands. In one, Ram and the expendables control a spaceship filled with sleeping human colonists that “make a daring leap into theoretical physics” to colonize another earth-like planet. The jump into the fold creates nineteen ships moving backward (yet forward) through time. In the other strand, thirteen-year-old Rigg is thrust from his life in the forest with his father’s dying order for him to find his mother and sister using a bag of nineteen jewels and the name of a banker in the city. Along the way, Rigg collects a trusty band of companions to help him. As expected, they have many adventures which are quite unexpected even for readers of similar novels. Fortunately, all that seemingly useless education from his father in the forest turns out to be very useful after all. The writing is fantastic without a word out of place, the characters are believable whether they are youths or adults, and the author is a master of creating new worlds and new words that are readily understandable. I saw hints of many favourite fantasy/science fiction/historic future adventure stories: Harry Potter, the Hobbit, Hitchhiker’s Guide to the Galaxy, and of course, Orson Scott Card’s own series starting with Ender’s Game. It would be impossible to put an appropriate age on this book as it can be enjoyed (or not) at many different levels – the writing is probably understandable for some starting in grade 5; the cover says “12 and up.” Highly recommended: 4 out of 4 stars Reviewer: David SulzDavid is a librarian at the University of Alberta working mostly with scholars in Economics, Religious Studies, and Social Work. His university studies included: Library Studies, History, Elementary Education, Japanese, and Economics. On the education front, he taught various grades and subjects for several years in schools as well as museums. His interest in Japan and things Japanese stands above his other diverse interests.

This research sought to establish the hindrances/barriers to the effective implementation of the Adventist youth ministry curriculum in the congregations of the Trans-Orange Conference. The theological and Biblical foundations that underpin the church’s youth ministry and its curriculum ought to provide the church with a cutting edge in its youth ministry, and ought to assist tremendously in achieving the major twin goals of its youth ministry, i.e. salvation and service. Its detailed curriculum that is guided by the insights of developmental psychology is divided into four main age-specific levels: Adventurers, Pathfinder, Ambassadors and senior youth. Beyond the spiritual emphasis and soteriological intent, the participant youth should also benefit from leadership and community service development. The value of the curriculum, however, is only realised when it is implemented among the intended recipients; the youth of the church. Interviews with the youth ministry leaders from the various districts of the Trans-Orange Conference revealed a bleak picture of low levels of curriculum implementation. Expressed barriers to curriculum implementation and a low prevalence of progressive classes included: Low prevalence of qualified Master Guides and youth leaders; difficulties in accessing resources for use in curriculum implementation; unbalanced emphasis on physical activities at the expense of the rest of the curriculum content; lack of parental support; as well as priority issues emanating from church elders and leaders. It is very clear that the current praxis prevailing in the Trans-Orange Conference is not yielding the desired outcomes with regard to the delivery of the youth ministry curriculum. Given the status quo as manifested above, it becomes imperative that new ways of praxis be explored and be implemented to effect a situation turnaround. By revisiting the problem areas as expressed in the interviews, and seeking alternative approaches to youth ministry and curriculum implementation in the territory under investigation, a new model needs to be developed that must increase the prevalence of trained and qualified youth ministry personnel, that must increase the prevalence of progressive classes, and that increases levels of resource accessibility for congregational youth ministry curriculum providers and the youth in general. Furthermore, parents need to be trained and supported to enable them to be effective in assisting meeting the goals of the youth ministry as reflected in the curriculum, while all relevant leaders should also be assisted to reach a balance in the implementation of the curriculum and to assign appropriate priority to the programming and budgetary provisions for the youth ministry.
PhD (Pastoral Studies), North-West University, Potchefstroom Campus, 2014

This chapter examines Norwegian film director Nils Gaup, who made several international productions, starting with the adventure film Shipwrecked (Håkon Håkonson, 1990), co-produced by Disney. Gaup’s international films are rich examples of the circulation and appropriation of ideas in inter- and transnational genre films. Shipwrecked and Tashunga/North Star (1996) constitute attempts to create a Euro-Hollywood production that reimagines the adventure film or the western genre. The genre elements of the Western were honed by Gaup in his Oscar-winning film about an ancient Sámi legend Ofelaš (Pathfinder, 1987); Gaup has since made several feature length films set in Sápmi that evoke well-known Hollywood genre stipulations, such as the historical epic Kautokeino-Oppøret (The Kautokeino Rebellion, 2008) and Glassdukkene (Glass Dolls, 2014). Shipwrecked and Tashunga are Gaup’s most ambitious attempts to negotiate between international genre elements and aspects of Sámi or Norwegian culture.