Gotowe bibliografie tematyczne / Documentary history

Gotowa bibliografia na temat „Documentary history”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Documentary history"

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Acta Archaeologica, Editors. "Literary & Documentary History". Acta Archaeologica 73, nr 2 (9.04.2002): 15–51. http://dx.doi.org/10.1111/16000390-07302006.

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Mueller, Marja Lynne, i Bradley G. Bond. "Mississippi: A Documentary History". Journal of Southern History 70, nr 4 (1.11.2004): 979. http://dx.doi.org/10.2307/27648641.

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Chanan, Michael. "Documentary, History, Social Memory". Journal of British Cinema and Television 1, nr 1 (maj 2004): 61–77. http://dx.doi.org/10.3366/jbctv.2004.1.1.61.

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FOX, ROBIN LANE. "THUCYDIDES AND DOCUMENTARY HISTORY". Classical Quarterly 60, nr 1 (15.04.2010): 11–29. http://dx.doi.org/10.1017/s0009838809990413.

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Daniels, Robert V. "A Documentary History of Communism". Labour / Le Travail 16 (1985): 364. http://dx.doi.org/10.2307/25142580.

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Contreni, John J., Brian Tierney i John Scott. "Western Societies: A Documentary History". History Teacher 18, nr 3 (maj 1985): 445. http://dx.doi.org/10.2307/493066.

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Troiani, Igea. "Writing architectural history as documentary". Journal of Architecture 10, nr 3 (czerwiec 2005): 275–84. http://dx.doi.org/10.1080/13602360500162394.

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Kuehl, Jerome. "Documentary Media: History, Theory, Practice". Historical Journal of Film, Radio and Television 40, nr 1 (12.12.2019): 233–34. http://dx.doi.org/10.1080/01439685.2018.1543234.

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McQuilton, John, Stephen Alomes, Catherine Jones i Brian Hocking. "Australian Nationalism: A Documentary History". Labour History, nr 64 (1993): 149. http://dx.doi.org/10.2307/27509178.

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Klein, Charles H. "The AIDS Crisis: A Documentary History:The AIDS Crisis: A Documentary History." American Anthropologist 101, nr 4 (grudzień 1999): 881–82. http://dx.doi.org/10.1525/aa.1999.101.4.881.

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Rozprawy doktorskie na temat "Documentary history"

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Chen, Pin-Chuan. "A critical history of Taiwanese independent documentary". Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/a-critical-history-of-taiwanese-independent-documentary(fa91871a-9257-477d-ba00-ca5b0501b6a1).html.

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This thesis is the first history of Taiwanese independent documentary. It asks what independent documentary (dulijilupian) is in Taiwan and how it changes in different historical periods. To address the characteristics of Taiwanese independent documentary and pursue the connection between social and political circumstances and independent documentary production in Taiwan, the thesis relies on primary data collection and archival documents to write a chronological and analytical history. It argues that independent documentary in Taiwan should be periodised according to changes in the in the mode of production, which are related to changes in the social and political environment. Deploying this approach based on mode of production and socio-political environment, the thesis divides the history of independent documentary production in Taiwan into four periods. First, the independent documentary making originated primarily as a vehicle against government-controlled media and in order to reveal alternative points of view during the political movements of the 1980s. Thus, independent documentary is a form for participating in political movements in this period. Second, the period after the cessation of Taiwan’s martial law (1987) saw independent documentarians shift their focus from political and social movements and towards social issues. Here, the independent documentary revealed the problems of the socially marginalized, which had been ignored by mainstream media. It participated in the idea of Community Development, which was a major topic from the late 1980s to the mid- 1990s. Third, after the mid-1990s, the decline of the Taiwanese feature film industry drove filmmakers, especially members of the post-New Taiwan Cinema young generation, to turn to digital video and make low-budget documentaries independently. Their approach placed art as a higher priority than social and political engagement. Fourth, since the early 2000s, independent documentary making has also become a way for expressing identities. For instance, filmmakers who used to be the filmed subjects of documentaries, such as Taiwanese indigenous peoples, foreign spouses, or other marginalized groups in society, have used independent documentary to express their cultural and social identities from their own viewpoints, and to claim equal rights.
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Irwin, Mary. "BBC television documentary 1960-70 : a history". Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492389.

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In recent years British television drama of the 1960s has been the subject of significant academic scholarship and popular retrospective interest. The British television documentary of the period is, in contrast, markedly under researched. Initial investigation suggested that while the independent television network produced two very influential documentary series in Granada's World in Action (1963-1998) and ABC/Thames This Week (1956-1992), both of which have already been the subject of academic study, it was, in the main, at the BBC that the most critically acclaimed and popularly remembered documentaries of the period were produced. Beginning by tracing the televisual climate of the late 1950s and early 1960s out of which the documentaries developed, this thesis aims to construct the first scholarly narrative history of the development of the BBC television documentary between 1960 and 1970. It examines and re evaluates some of the most significant and influential BBC television documentaries or documentary series of the period, whilst examining the lack of status afforded other particular BBC television documentaries.
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Lasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.

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Jones, Rex Allan. "'We on history channel!' the representation of history in documentary film /". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/jones/JonesRA0509.pdf.

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The representation of history in documentary film is problematic. Documentary's creative treatment of actuality and assumed fidelity to perceived truth is at conflict with the historian's pursuit of veracity. Ever since the dawn of photography, artists have manipulated images and compromised facticity in service to aesthetics and drama. This trend continued into the early days of cinema, as newsreel producers adopted a more liberal than literal ethos that persists in documentary to this day. Reality can never be shown just as it is even in the most simplistic treatments of the most banal subjects. The representation of history is not always as absolute as it may seem. Instead of ignoring or denying the authorship inherent in the representation of history in documentary film, filmmakers should embrace it and reflexively provide glimpses of the cinematic process that forms their particular construction of reality. I will argue that the best way to accomplish this goal is to employ the performative mode of documentary representation, which gives the viewer a context to think about the film as a version of history, not necessarily the version of it.
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Colbourne, John Kenneth. "A documentary on the evolutionary history of Daphnia". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0006/NQ40367.pdf.

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BRASIL, MARCIA PATERMAN. "HISTORY AND UTOPIA: THE DOCUMENTARY OF SILVIO TENDLER". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12998@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O trabalho História e utopia: o documentário de Silvio Tendler investiga o compromisso com a construção da memória política assumido pelo cineasta brasileiro Silvio Tendler, bem como discute alguns mecanismos responsáveis pelo incômodo resultante da sua narrativa no cenário contemporâneo. Tendler realizou cerca de trinta filmes documentários sobre personagens públicos e processos históricos nacionais, ambos identificados à preocupação em reelaborar a memória política brasileira e conscientizar sobre os autoritarismos de Estado. Mas sua urgência em narrar os sonhos libertários, percorrer as rupturas políticas e atualizar as esperanças para construção de um futuro democrático entra em confronto com as produções contemporâneas do gênero. Nestas, ficam explícitos o abandono dos horizontes de empenho em construir utopias e a rejeição da preocupação com a esfera pública de participação política. Para compreender este processo, este trabalho apresenta uma breve descrição biográfica, análise de alguns de seus filmes, suas políticas de representação histórica e os movimentos trilhados pelo autor. O trabalho coloca sua obra em diálogo com as características encontradas nas narrativas documentais recentes e com o conjunto de diretrizes teóricas do gênero. Assim, tenta entender de que modo o rompimento com os pilares do pensamento que guiou a modernidade ocidental, que impulsionou os relatos de emancipação, termina por envolver de desconfiança a identidade coletiva que perpassa a produção de Tendler.
The work History and Utopia: the Documentary of Silvio Tendler investigates the pact with the construction of political memory assumed by the Brazilian director, as well as discusses some of the mechanisms responsible for the resulting sense of displacement of his narrative construction in the contemporary scene. Tendler authored more than thirty documentary films about public personalities and national historical processes, both indentified by the desire to rework the political memory and raise consciousness the authoritarian past of the State. But his urgency to narrate dreams of liberation, to follow political ruptures, and to carry out the new hopes for the construction of a democratic future enters into conflict with the contemporary productions in the genre. In these productions the abandonment of the horizons of dedication to build utopias becomes explicit, as does the rejection of attention to the public sphere of political participation. To understand this process, we write a brief biographical description, select a few of his films, observe his politics of historical representation and the movements chronicled by the author. We place his work in dialogue with the main characteristics encountered in recent narrative documentary and with the theoretical tendencies of the genre. Doing so, we try and understand by what mode of rupture with the pillars of thought that have guided occidental modernism, that created accounts of emancipation, ends up creating suspicion of the collective identity reclaimed in Tendlers work.
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Sills-Jones, Dafydd. "History documentary on UK terrestrial television, 1982-2002". Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/ce5f1edf-1dba-4b89-b0c3-7f70cbcc00c8.

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This thesis is an examination of the connection between the changes in the political economy of television, and changes in history documentary form, between 1982 and 2002 on UK terrestrial television. It reviews the literature on the political economy of the media, including public service broadcasting (PSB), and on documentary form, including history documentary form. The thesis then poses three research questions which aim to explore changes in the political economy of television, the effect these changes had on the production of history documentary, and the effect these changes in production had on the form of history documentary. The thesis used official documentation, television listings, practitioner interviews and textual analysis to answer these research questions. The thesis then lays out a historical narrative of the developments in the production of history documentary on UK terrestrial television between 1982 and 2002, and analyses the causes and results of these developments. It argues that a direct link exists between changes in the political economy of television and changes in the form of history documentary between 1982 and 2002. The thesis demonstrates that the shift from traditional PSB values towards a market-driven broadcasting ecology affected the production, and form, of history documentaries. These changes in turn challenged traditional notions of quality and history documentary‘s function as a form of PSB. The thesis also demonstrates that the effect of political economic change on history documentary form was not as simple as had hitherto been implied in the academic literature. In particular, there was a parallel between the tension between public service and commercial aims, in both the structures of television production, and the form of history documentary.
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Corns, Donna. "Dina's story : a visual intervention in fathoming history". Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20717.

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A two-part dissertation including a research essay and script for a historical feature film as a work of creative non-fiction. The first 40 pages comprise the research essay discussing archival research methods and narrative strategies employed in the creative production. The script, Dina the runaway, is based on a reading of official records of a criminal case from the Court of Justice in Cape of Good Hope 1737. The intention of the creative reworking is to revivify a historical event hitherto imprisoned in archaic language, providing proximity through visual language to make it speak more directly to the present. Despite efforts of contemporary historians, slavery as part of South African historical consciousness is seldom foregrounded. There is no surviving 'slave voice' - the only way enslaved people 'made it' into history was through transgression, they were essentially criminalised by history. Dina's story and her telling of it serves as an imaginative empathetic intervention in historical transmission. Research methods of reading along and across the archival grain expose power dynamics in linguistic transactions and discrepancies in the records. The script is a creative treatment of 'historical reality,' thereby subverting the generic dichotomy of the historical fiction film and documentary. The essay and script occupy the uncomfortable space of a double consciousness in which the creative and analytic do not so much compete as attempt to coexist.
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Boyd, Laura Jean. "Mythologizing the History of Easter Island through Documentary Films". Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/boyd/BoydL1205.pdf.

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Documentaries have the power to rewrite history and perpetuate myths in our society. In the case of Easter Island, documentary filmmakers have sensationalized the history of the Rapa Nui people, dwelling on dramatic concepts such as eco-disaster, cannibalism and mysteriously vanishing cultures. As a result of poor filmmaking, we have a mythologized history of Easter Island. In my attempt to create a science-based documentary about an issue affecting contemporary Easter Island society, this mythologizing of history became a major obstacle. It became apparent that I had to first inform audiences to the fact that they had been misinformed by previous documentaries about Easter Island and I had to change their interpretation of the alleged facts. In my thesis paper I examine the documentaries that created sensational statements about the island and reveal why documentary filmmakers rely on dramatic elements. I also examine my approach to the process of making my graduate thesis film, Caballo Loco on Easter Island, and review the methods I used to ensure the people of Rapa Nui were accurately represented.
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Jones, Leonie E. "`The Greatness and the Smallness of their Story': Developing an Oral History Interactive Documentary Creative Practice telling the Battle of Coral Balmoral, Vietnam 1968". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/399976.

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This research explores the interconnection between oral history, documentary film and the emerging field of interactive documentary as an interdisciplinary creative strategy for telling factual stories of war and trauma. In doing so, it recognises the problematic nature of broadcast television documentary where uneven power structures can negatively affect authorship and story. The objective of this research was to ease this tension with the development of a new creative practice model in the field of documentary story telling, as an alternative form of representation. The immediacy, polyvocality and accessibility offered by this new form of communication and technology, when coupled with oral history and documentary film, is particularly suited to projects where marginalised communities seek to make sense of their experience, and to challenge existing histories. I have developed an innovative synthesis between the three approaches to factual storytelling, which I call Oral History Interactive Documentary (OHID). As a means of factual, multi-narrative storytelling, this approach is designed to meet participants’ need to speak and be heard on their own terms and in their own words, rather than through ‘hierarchical media as a forum for privileged voices’ (Mitchell 2015, p.9). My development of OHID is based on a dataset of 150 audio-visual original oral history interviews conducted with returned Australian Vietnam War soldiers, who fought at the Battle of Coral Balmoral in May 1968, at the height of the Vietnam War. It was the biggest and bloodiest battle fought by Australians, with more Australian soldiers killed in this engagement than at any other time during the Vietnam War. However, the Coral Balmoral soldiers’ repatriation back to Australia in 1969 was troubled as it coincided with major historical, social and cultural shifts in Australian society. The re-casting of the previously secure Australian national identity, largely founded in the legend of Anzac, resulted in the soldiers’ exclusion from imperatives linked to nationalism and masculinity. Instead, the returned Coral Balmoral soldiers found themselves in an uneasy relationship with an Australian society unable to reconcile a gallant military history with the contentious war in Vietnam. It is within these warfare and post-war socio-cultural experiences that the oral history interviews I conducted sought to record the veterans’ memories. To better understand the relationship between telling stories of war and trauma, oral history, documentary film and its potential interconnection with interactivity, Sandra Gaudenzi’s (2013) taxonomy of four modes of interactivity was critically applied and tested against a range of conflict themed interactive documentaries. Critical analysis of these i-docs helped shape ideas of how interactive documentary enables authorship and agency. Rethinking ideas of authorship and inviting co-creation collaboration, opened new possibilities in digital space for multiple and layered storytelling. Importantly for the Coral Balmoral community, it allowed for the emergence of contradiction leading to new interpretative possibilities. Making obvious the synergies between interactive documentary, oral history and documentary film enabled me to design a creative strategy and practice model for authentic telling of stories of war and conflict. As a result, I have developed and tested the first contemporary single battle post-conflict oral history interactive documentary prototype, 26 Days: The Battle of Coral Balmoral. This practice-led inquiry shaped my own professional practice as a screen media artist. The synergy between oral history, documentary film and interactive documentary has enabled me to bridge a gap in current factual broadcast storytelling, that suffers from a lack of informed, documented strategies. This research also looks beyond linear, hierarchical television documentary as a favoured factual storytelling platform to a new model of communication by offering a strategy that transcends some of the limitations of time-based storytelling. By offering a collaborative and three-tiered storytelling system, operating in a spatial and temporal environment, the OHID strategy provides a multi-tiered, organic framework through which witness accounts are recorded, organised, cohesively presented and engaged with by a user audience. In this way, the OHID strategy provides a framework that builds storytelling arenas for ideas and plots to unfold freely, run parallel to each other, or be completely contradictory. In so doing, OHID breaks authorial codes, whether political, social, geographical or institutional. Finally, the OHID strategy encourages collaboration that empowers marginalised communities to present many and alternative versions of experiences, in a way that opens opportunities for new knowledge and understanding. The Interactive Oral History Documentary 26 Days: The Battle of Coral Balmoral can be found at www.fsbcoral.org Please note that all active oral history interviews are marked with a white star in a green circle.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
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Książki na temat "Documentary history"

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1968-, Kim Tong-man, red. Tak'yu Cheju: Documentery [i.e Documentary] Jeju. Cheju-do: Kak, 2008.

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Saunders, Dave. Documentary. New York, NY: Routledge, 2010.

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Documentary. London: Routledge, 2010.

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Ireland, National Library of, red. Parnell: A documentary history. Dublin: National Library of Ireland, 1991.

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Dasinger, Norman Roy. Generations, a documentary history. Jacksonville, Ala: N.R. Dasinger, 1985.

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Bond, Bradley G. Mississippi: A documentary history. Jackson, MI: University Press of Mississippi, 2004.

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Mississippi: A documentary history. Jackson: University Press of Mississippi, 2003.

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Morgan, Roy R. Chichester: A documentary history. Chichester: Phillimore, 1992.

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Fox, Broderick. Documentary media: History, theory, practice. Boston: Allyn & Bacon, 2010.

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Coodley, Lauren. California: A multicultural documentary history. Upper Saddle River, N.J: Pearson Prentice Hall, 2009.

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Części książek na temat "Documentary history"

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Rosenstone, Robert A. "Documentary". W History on Film/Film on History, 62–77. Third edition. | Abingdon, Oxon ; New York : Routledge, 2017. | Series: History: concepts, theories and practice: Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-5.

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Mickwitz, Nina. "History in the Making: Comics, History, and Collective Memory". W Documentary Comics, 59–89. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137493323_4.

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Fox, Broderick. "A Brief History of Documentary". W Documentary Media, 27–72. 2nd edition. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315559438-2.

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Buisseret, David. "Documentary evidence". W General History of the Caribbean, 46–62. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-349-73776-5_4.

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Lewis, Mark. "Cane Toads: An Unnatural History". W 100 Documentary Films, 27–28. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_11.

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Burnett, Mark Thornton, i Adrian Streete. "Epilogue: Documentary Reflections". W Filming and Performing Renaissance History, 193–202. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299429_13.

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Chapman, James. "Documentary Before Grierson". W A New History of British Documentary, 18–40. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9780230392878_2.

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Chapman, James. "Documentary at War". W A New History of British Documentary, 90–122. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9780230392878_4.

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Chapman, James. "Post-War Documentary". W A New History of British Documentary, 123–71. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9780230392878_5.

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Chapman, James. "Television and Documentary". W A New History of British Documentary, 172–215. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9780230392878_6.

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Streszczenia konferencji na temat "Documentary history"

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Ekaterina, Malygina. "DOCUMENTARY HERITAGE OF KHAKASSIA: THE POSSIBILITY OF USING IN SOCIAL AND CULTURAL EDUCATION AND PATRIOTIC EDUCATION OF CITIZENS". W Archives in history. History in archives. Ottisk, 2018. http://dx.doi.org/10.32363/978-5-6041443-5-0-2018-157-161.

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BAZAROVA, G. D., i V. T. LYKSOKOVA. "DOCUMENTARY HISTORY OF THE SCIENTIFIC CENTER IN BURYATIA". W Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-222-224.

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Leonova, T. A. "Russian Documentary Global History With The Use Of Regional Archives". W Humanistic Practice in Education in a Postmodern Age. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.68.

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Tanjung, Ida, Hidayat Hidayat i Ika Sari. "Development of Documentary Film Media Based on Historical Sites in Maritime History". W Proceedings of the 2nd International Conference on Social Sciences and Interdisciplinary Studies (formerly ICCSSIS), ICCSIS 2019, 24-25 October 2019, Medan, North Sumatera, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.24-10-2019.2290626.

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Jang, Hae-rang, Ho-jun Son, Soon-chul Kwon i Seung-hyun Lee. "Analysis of VR Contents Production Method in TV History Documentary - Focused on Uigwe -". W Mechanical Engineering 2016. Science & Engineering Research Support soCiety, 2016. http://dx.doi.org/10.14257/astl.2016.129.40.

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Armand, Cecile. "The patrimonialization process of advertising: From scorn and mistrust to documentary heritage, archive, and history". W 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743814.

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Smetanina, E. V. "Records about Old Believers' groups (soglasiya and tolks) of Transbaikalia in the church institutions' clerical documentary complexes of Baikal region". W Old Belief: History and Modernity, Local Traditions, Relations in Russia and Abroad. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0771-8-121-130.

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Bobrova, E. "Portals to archive spaces". W Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1836.978-5-317-06529-4/378-384.

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The article analyzes the problem of searching through the Internet for information about archives and the documentary heritage stored in them. The history and role of the portal Archives of Russia is considered, and a technological analysis of the existing archival portals of the constituent entities of the Russian Federation is given.
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СОЛОВЬЕВ, Д. Б. "History of Archaeological Studying of Sites where Participants of Battle of Borodino Fought in 1812 Were Buried". W Тверь, тверская земля и сопредельные территории в эпоху средневековья. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-9906508-3-1.369-387.

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В статье рассмотрены общие принципы проведения обрядов погребения павших в сражениях, категории захоронений, указаны причины, побуждающие изучать братские захоронения. Приведены документальные свидетельства исследования и поиска братских могил советскими и российскими археологами, включая архивные изыскания. The report represents general concepts of performing burial rites of fighters fallen in action as well as types of burials and reasons to study mass graves. There are also some documentary records of mass graves studying and searching held by Soviet and Russian archaeologists including archival researching.
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Šimunović, Nikolina. "To the Glory of Josip Jelačić: Occasional Poems in the Documentary Collection I of the Croatian History Museum". W Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika: revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/ydkx2cwrz9.

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Raporty organizacyjne na temat "Documentary history"

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Antonov, Volodymyr. Natural history BBC documentaries: history and functions. Ivan Franko National University of Lviv, luty 2022. http://dx.doi.org/10.30970/vjo.2022.51.11402.

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This scientific article studies natural history documentaries produced by BBC and traces important stages of the development of the attitude towards such genre as natural history documentary. This research is about understanding why this kind of programmes is important, particularly for Ukrainians, and why we should study the genre thoroughly, including the BBC’s experience in the field. Accordingly, the main objectives of the study were: 1. To substantiate the necessity for Ukrainian scholars to study natural history documentaries and BBC’s experience in the field. 2. To trace back and describe the main stages of development in the sphere of producing natural history documentaries by British Broadcasting Corporation. 3. To analyze the obstacles which modern journalists, filmmakers are dealing with and to draw attention of Ukrainian specialists to those philosophical questions that modern era is searching for answers to. In the result of the research these main tasks which were outlined above were fulfilled. The author of this article concluded that natural history documentaries help to understand our place in the world we live in. In addition, through the shared environment we can feel unity with those who inhabit our region, country, inhabited it before, will inhabit in future. Documentaries help us understand who we are. And this function of identification is very important for contemporary Ukraine. To understand how to create proper natural history documentary it’s important to learn the global history of creating such programmes and especially that part which covers BBC’s achievements. The achievements of the corporation which gave birth to such prominent figure as David Attenborough. In addition to this, the article described some modern challenges which documentary makers face and those questions which contemporary society needs to have answered. Because you cannot create a proper natural history programme if you know past but do not know modern challenges. To sum up, the topic which is deeply connected with process of self-identification is very important and perspective for Ukrainian society which suffers hybrid war and endeavours of Russian Federation to assimilate Ukrainian people, Ukrainian culture.
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Balarin, María, i Mauricio Saavedra. Reforming Education in the Context of Weak States: The Political Economy of Education Reforms in Peru 1995-2020. Research on Improving Systems of Education (RISE), styczeń 2023. http://dx.doi.org/10.35489/bsg-rise-2023/pe04.

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In this paper, we explore the political economy of education reforms in Peru through an analysis of the recent history of education policies in the country. Starting in 1995, arguably the inception point for quality-oriented reforms, we follow policy developments in three selected areas – curriculum, teachers and assessment – up to 2020, the year when the study was conducted. Through a detailed reconstruction of policies and policy changes that was based on documentary analysis and in-depth interviews with key stakeholders, we analyse the changing nature of agendas throughout this period and the factors that may explain changes and continuities.
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Fernández Guzmán, Eduardo. La movilidad social como tema de estudio en la Historia y los estudios migratorios: un acercamiento global. Revista Cimexus, 2022. http://dx.doi.org/10.33110/cimexus170203.

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La movilidad social es un concepto sociológico que implica cualquier transición que realiza una persona de una posición social a otra, y esta presenta diferentes maneras de movilidad e índices a través del tiempo y espacio. La ciencia histórica y los estudios migratorios le han dedicado desde hace unas décadas un espacio y de ello han brotado datos y análisis muy dignos de destacar. El objetivo de esta investigación es hacer una revisión de la literatura de la historiografía y de los estudiosos de la migración sobre la movilidad social. La finalidad es mostrar el estado del arte y reflexionar sobre las amplias posibilidades del análisis histórico de la movilidad social en las temáticas migratorias. La metodología empleada es de corte documental y teóricamente está fundamentada en la reflexión historiográfica sobre la democratización y fragmentación de la historia y el dialogo multidisciplinario. Se espera con ello, se despierte el interés de la reflexión histórica sobre tópicos de las diversas formas de la movilidad social en el fenómeno de la migración.
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García-Dereix, María Beatriz. La programación cultural en artes plásticas del Banco de la República de Cartagena, 1980-1984. Banco de la República, październik 2021. http://dx.doi.org/10.32468/chee.54.

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Este documento estudia el periodo 1980-1984 durante el cual el Banco de la República comenzó su programación cultural en Cartagena y, en particular, cómo esta se incorporó en sus dinámicas artísticas previas. La investigación se centra en el estudio de las circunstancias que se dieron en la ciudad y el país para que las políticas gubernamentales cambiaran la forma de ver las regiones y su empoderamiento con respecto a los proyectos artísticos que se generaron, especialmente al interior del Banco de la República. Este documento tiene dos propósitos: (i) recolectar archivos para documentar un momento particular del arte en Cartagena y en la historia institucional del Banco de la República como actor cultural; y (ii) retroalimentar la gestión cultural del Banco de la República. Estudiar estos procesos históricos es fundamental para evaluar proyectos y trayectorias con miras a pensar el presente y el futuro de la gestión en artes de la Sucursal Cartagena del Banco de la República.
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Hidalgo Campero, Jorge Antonio. Caso de éxito: Corporación Agroindustrial Amazonas Castaña-Brazilnuts-Nuez Amazónica. Inter-American Development Bank, wrzesień 2021. http://dx.doi.org/10.18235/0003679.

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Bolivia tiene una distribución geográfica amplia con una gran variedad de ecosistemas que le permiten el desarrollo de diferentes cadenas agroalimentarias, algunas de ellas, por sus sobresalientes cualidades nutricionales pueden ser consideradas superalimentos. El presente estudio documenta el casos de éxito de uno de los superalimentos bolivianos: Nuez Amazónica. Se relata contextualizando la historia del sector en el país y desarrollando la trayectoria e hitos de empresas que han sido promotores de estos desarrollos y/o han conseguido admirables logros en sus respectivas áreas. El 82% de la producción mundial de Nuez Amazónica está originada en Bolivia, siendo el primer exportador global actualmente, superando inclusive a Brasil, quien tiene un área de extracción potencial mayor. Este producto silvestre ha generado el polo de desarrollo más importante de la región amazónica boliviana, donde cuenta con una historia extensa y un papel socioeconómico y ecológico vital. Es decisiva para su suceso una articulación sectorial temprana que prevaleció ante la desconfianza del trabajo colaborativo, que, junto con un estricto control de calidad sectorial privado, permitió el acceso al exigente mercado europeo. Uno de los impulsores de este salto de calidad es la empresa Corporación Agroindustrial Amazonas (CAA), quien fue artífice de varios desarrollos de competitividad adaptativa únicos, que han beneficiado a todo el sector en su conjunto.
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Khomenko, Tetiana. TIME AND SPACE OF HISTORICAL PARALLELS OF EUGEN SVERSTIUK’S JOURNALISM. Ivan Franko National University of Lviv, marzec 2021. http://dx.doi.org/10.30970/vjo.2021.50.11095.

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The article is dedicated to the investigation of time-space measurements of journalistic works of Eugen Sverstiuk, a well-known Ukrainian journalist. In particular, the time-space continuum of his works is being discussed, which is characterized as comprehensive, continuous, filled with archetypical images which metaphorize the text, but at the same time structure it, and are beaded on the axis of time and documentarily located in the space. The logics of images initiated in the text is exaggerated by constant dwelling of the author in the time-space dimensions of the epoque, of which he was a contemporary, as well as precise knowledge of World and Ukrainian history and culture. Historical parallelism of journalism of E. Sverstiuk possesses double potential. On the one hand, the author provides arguments for confirmation of his own opinion, and on the other, he shows us historical collisions in the new aspect, which helps consider the past, better understand the present, and think of the future. Pages of his works is space for author’s considerations, which logics impresses by free transgression of the author in the time, and his ability to grasp the most essential, although sometimes precedent, sometimes sudden and forgotten, or even unknown historical facts in order to force them to resonate in the new historical realities, first of all to indicate the importance of national and the need for assigning to it more significance. Using retrospectives, E. Sverstiuk encourages us to return to the national sources and to seek in ourselves the reflections of nationality in order to return historical truth to our audience. This is what, according to E. Sverstiuk, was believed to be one of the most necessary conditions of existence to the independent state. Time-space continuum of E. Sverstiuk’s journalism is reproduction of comprehensive history as continuous process of the development of humanity, and of formation of comprehensive, total, and so to say epic reading and understanding of these processes via accentuation of reader’s attention on key events, phenomena, and facts.
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Zeballos, Eduardo. Caso de éxito: Agrinuts Maní. Inter-American Development Bank, listopad 2021. http://dx.doi.org/10.18235/0003873.

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Bolivia tiene una distribución geográfica amplia con una gran variedad de ecosistemas que le permiten el desarrollo de diferentes cadenas agroalimentarias, algunas de ellas, por sus sobresalientes cualidades nutricionales pueden ser consideradas superalimentos. El presente estudio documenta el caso de éxito del superalimento boliviano Maní. Se relata contextualizado la historia del sector en el país y desarrollando la trayectoria e hitos de empresas que han sido promotores de estos desarrollos y/o han conseguido admirables logros en sus respectivas áreas. En especial, este estudio de caso del Maní analiza a la empresa Agrintus S.A. de cómo ha logrado ser la principal empresa exportadora de maní en Bolivia. A partir de la importancia del producto, como una alternativa de alimento altamente beneficioso para la salud humana, se analiza el contexto del mercado internacional, su importancia productiva a nivel nacional, sobre todo en la región del Chaco, donde se identifica como origen de variedades nativas. A partir de este contexto, se aborda la experiencia de la empresa de más de una década que han permitido cimentar las bases para su consolidación empresarial presente. Actualmente la empresa exporta más del 90% del maní boliviano, mostrando las potencialidades y éxito en posicionar el maní boliviano en mercados altamente competitivos en Europa y Asia.
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Hidalgo Campero, Jorge Antonio. Caso de éxito: AGROEXPORT, Sésamo. Inter-American Development Bank, marzec 2022. http://dx.doi.org/10.18235/0004118.

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Bolivia tiene una distribución geográfica amplia con una gran variedad de ecosistemas que le permiten el desarrollo de diferentes cadenas agroalimentarias, algunas de ellas, por sus sobresalientes cualidades nutricionales pueden ser consideradas superalimentos. El presente estudio documenta un caso de éxito de superalimentos bolivianos: Sésamo. El caso se relata contextualizado la historia de su sector en el país y desarrollando la trayectoria e hitos de empresas que han sido promotores de estos desarrollos y/o han conseguido admirables logros en sus respectivas áreas. El cultivo del sésamo en Bolivia se ha adaptado muy bien en áreas marginales, zonas secas con pequeñas escalas de producción, siendo una de las opciones de rentabilidad más interesante para pequeños agricultores. Por sus características, es un importante generador de trabajo agrícola, dado su intensidad en uso de mano de obra. Su origen comercial en Bolivia está asociado al acceso al importante mercado japonés, para el cual aspectos como la pureza genética, trazabilidad y pureza física fueron determinantes. Esto a su vez permitió abrir en forma posterior otros mercados a nivel global. Los pioneros de esta iniciativa fundaron la empresa Agroexportaciones del Sur -AGROEXPORT, la cual concentra actualmente cerca del 60% de las exportaciones del país en este cultivo.
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Hall, Mark, i Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, wrzesień 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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