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Venturing out of the laboratory into the wild of natural settings,
it becomes untenable to locate memory strictly in the head.
Instead, memory appears as a materially extended and socially
distributed process, embedded within culture and history. This book
explores the complex relations between practices of remembering and
the settings in which they are enacted. It advances a novel set of
concepts developed from ecological, cognitive, cultural and
narrative currents in psychology and further afield to analyze (1)
trajectories of autobiographical remembering, (2) the relation
between individual and collective memory, (3) memory and cultural
transmission, as well as (4) various methodological techniques to
investigate memory in the wild.
Venturing out of the laboratory into the wild of natural settings,
it becomes untenable to locate memory strictly in the head.
Instead, memory appears as a materially extended and socially
distributed process, embedded within culture and history. This book
explores the complex relations between practices of remembering and
the settings in which they are enacted. It advances a novel set of
concepts developed from ecological, cognitive, cultural and
narrative currents in psychology and further afield to analyze (1)
trajectories of autobiographical remembering, (2) the relation
between individual and collective memory, (3) memory and cultural
transmission, as well as (4) various methodological techniques to
investigate memory in the wild.
"Democracy is the worst form of government, except for all the
others" once remarked Winston Churchill. In this day and age this
quotation resonates more than ever. This book explores democracy
from the perspective of social and cultural psychology,
highlighting the importance of the everyday basis of democratic
practices. This approach takes us beyond the simple understanding
of democracy in its institutional guise of free elections and
public accountability, and towards a focus on group dynamics and
personal characteristics of the democratic citizen, including their
mentalities, habits and ways of relating to others. The book
features discussions of the two-way street between democracy and
dictatorship; conflicts within protests, ideology and public
debate; and the psychological profile of a democratic citizen and
its critique. While acknowledging the limitations of today's
democratic systems, this volume aims to re-invigorate democracy by
bringing psychology to the table of current debates on social
change and citizenship.
"Democracy is the worst form of government, except for all the
others" once remarked Winston Churchill. In this day and age this
quotation resonates more than ever. This book explores democracy
from the perspective of social and cultural psychology,
highlighting the importance of the everyday basis of democratic
practices. This approach takes us beyond the simple understanding
of democracy in its institutional guise of free elections and
public accountability, and towards a focus on group dynamics and
personal characteristics of the democratic citizen, including their
mentalities, habits and ways of relating to others. The book
features discussions of the two-way street between democracy and
dictatorship; conflicts within protests, ideology and public
debate; and the psychological profile of a democratic citizen and
its critique. While acknowledging the limitations of today's
democratic systems, this volume aims to re-invigorate democracy by
bringing psychology to the table of current debates on social
change and citizenship.
This book offers a new approach to imagination which brings its
emotional, social, cultural, contextual and existential
characteristics to the fore. Fantasy and imagination are understood
as the human capacity to distance oneself from the here?and?now
situation in order to return to it with new possibilities. To do
this we use social?cultural means (e.g. language, stories, art,
images, etc.) to conceive of imaginary scenarios, some of which may
become real. Imagination is involved in every situation of our
lives, though to different degrees. Sometimes this process can lead
to concrete products (e.g., artistic works) that can be picked up
and used by others for the purposes of their imagining. Imagination
is not seen here as an isolated cognitive faculty but as the means
by which people anticipate and constructively move towards an
indeterminate future. It is in this process of living forward with
the help of imagination that novelty appears and social change
becomes possible. This book offers a conceptual history of
imagination, an array of theoretical approaches, imagination's use
in psychologist's thinking and a number of new research areas. Its
aim is to offer a re?enchantment of the concept of imagination and
the discipline of psychology more generally.
This book offers a new approach to imagination which brings its
emotional, social, cultural, contextual and existential
characteristics to the fore. Fantasy and imagination are understood
as the human capacity to distance oneself from the here?and?now
situation in order to return to it with new possibilities. To do
this we use social?cultural means (e.g. language, stories, art,
images, etc.) to conceive of imaginary scenarios, some of which may
become real. Imagination is involved in every situation of our
lives, though to different degrees. Sometimes this process can lead
to concrete products (e.g., artistic works) that can be picked up
and used by others for the purposes of their imagining. Imagination
is not seen here as an isolated cognitive faculty but as the means
by which people anticipate and constructively move towards an
indeterminate future. It is in this process of living forward with
the help of imagination that novelty appears and social change
becomes possible. This book offers a conceptual history of
imagination, an array of theoretical approaches, imagination's use
in psychologist's thinking and a number of new research areas. Its
aim is to offer a re?enchantment of the concept of imagination and
the discipline of psychology more generally.
In his now classic Voices of Collective Remembering, James V.
Wertsch (2002) examines the extent to which certain narrative
themes are embedded in the way the collective past is understood
and national communities are imagined. In this work, Wertsch coined
the term schematic narrative templates to refer to basic plots,
such as the triumph over alien forces or quest for freedom, that
are recurrently used, setting a national theme for the past,
present and future. Whereas specific narratives are about
particular events, dates, settings and actors, schematic narrative
templates refer to more abstract structures, grounded in the same
basic plot, from which multiple specific accounts of the past can
be generated. As dominant and naturalised narrative structures,
schematic narrative templates are typically used without being
noticed, and are thus extremely conservative, impervious to
evidence and resistant to change. The concept of schematic
narrative templates is much needed today, especially considering
the rise of nationalism and extreme-right populism, political
movements that tend to tap into national narratives naturalised and
accepted by large swathes of society. The present volume comprises
empirical and theoretical contributions to the concept of schematic
narrative templates by scholars of different disciplines
(Historiography, Psychology, Education and Political Science) and
from the vantage point of different cultural and social practices
of remembering (viz., school history teaching, political
discourses, rituals, museums, the use of images, maps, etc.) in
different countries. The volume's main goal is to provide a
transdisciplinary debate around the concept of schematic narrative
templates, focusing on how narratives change as well as perpetuate
at times when nationalist discourses seem to be on the rise. This
book will be relevant to anyone interested in history, history
teaching, nationalism, collective memory and the wider social
debate on how to critically reflect on the past.
In his now classic Voices of Collective Remembering, James V.
Wertsch (2002) examines the extent to which certain narrative
themes are embedded in the way the collective past is understood
and national communities are imagined. In this work, Wertsch coined
the term schematic narrative templates to refer to basic plots,
such as the triumph over alien forces or quest for freedom, that
are recurrently used, setting a national theme for the past,
present and future. Whereas specific narratives are about
particular events, dates, settings and actors, schematic narrative
templates refer to more abstract structures, grounded in the same
basic plot, from which multiple specific accounts of the past can
be generated. As dominant and naturalised narrative structures,
schematic narrative templates are typically used without being
noticed, and are thus extremely conservative, impervious to
evidence and resistant to change. The concept of schematic
narrative templates is much needed today, especially considering
the rise of nationalism and extreme-right populism, political
movements that tend to tap into national narratives naturalised and
accepted by large swathes of society. The present volume comprises
empirical and theoretical contributions to the concept of schematic
narrative templates by scholars of different disciplines
(Historiography, Psychology, Education and Political Science) and
from the vantage point of different cultural and social practices
of remembering (viz., school history teaching, political
discourses, rituals, museums, the use of images, maps, etc.) in
different countries. The volume's main goal is to provide a
transdisciplinary debate around the concept of schematic narrative
templates, focusing on how narratives change as well as perpetuate
at times when nationalist discourses seem to be on the rise. This
book will be relevant to anyone interested in history, history
teaching, nationalism, collective memory and the wider social
debate on how to critically reflect on the past.
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