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Confidence Counts
(2021)
The increasing reliance on online learning in higher education has been further expedited by the on-going Covid-19 pandemic. Students need to be supported as they adapt to this new learning environment. Research has established that learners with positive online learning self-efficacy beliefs are more likely to persevere and achieve their higher education goals when learning online. In this paper, we explore how MOOC design can contribute to the four sources of self-efficacy beliefs posited by Bandura [4]. Specifically, we will explore, drawing on learner reflections, whether design elements of the MOOC, The Digital Edge: Essentials for the Online Learner, provided participants with the necessary mastery experiences, vicarious experiences, verbal persuasion, and affective regulation opportunities, to evaluate and develop their online learning self-efficacy beliefs. Findings from a content analysis of discussion forum posts show that learners referenced three of the four information sources when reflecting on their experience of the MOOC. This paper illustrates the potential of MOOCs as a pedagogical tool for enhancing online learning self-efficacy among students.
This paper aims to analyse the figure of the Venus of Milo in (extreme) contemporary art productions. The reception of this sculpture has already been studied in the past, but without considering the last ten years (2010 – 2020), during which artists like Yinka Shonibare, Fabio Viale, or Daniel Arsham decided to use the Venus for their new productions. The paper also explains how the Venus of Milo became a globalised icon and an inspiration for artists from all over the world.
TransPipe
(2021)
Online learning environments, such as Massive Open Online Courses (MOOCs), often rely on videos as a major component to convey knowledge. However, these videos exclude potential participants who do not understand the lecturer’s language, regardless of whether that is due to language unfamiliarity or aural handicaps. Subtitles and/or interactive transcripts solve this issue, ease navigation based on the content, and enable indexing and retrieval by search engines. Although there are several automated speech-to-text converters and translation tools, their quality varies and the process of integrating them can be quite tedious. Thus, in practice, many videos on MOOC platforms only receive subtitles after the course is already finished (if at all) due to a lack of resources. This work describes an approach to tackle this issue by providing a dedicated tool, which is closing this gap between MOOC platforms and transcription and translation tools and offering a simple workflow that can easily be handled by users with a less technical background. The proposed method is designed and evaluated by qualitative interviews with three major MOOC providers.
Digitale Logopädie
(2021)
A quote from Fight Club (Chuck Palahniuk, 1996) may seem unusual for a Classicist. Nevertheless, this famous sentence summarises the contents of this special issue of thersites perfectly. As specialists in classical reception frequently witness, there is a sort of déjà-vu effect when it comes to the presence of Antiquity within popular culture. In 2019, to try to better understand the phenomenon, Antiquipop invited researchers to take an interest in the construction and semantic path of these “masterpieces” in contemporary popular culture, with a particular focus on the 21st century.
Learning During COVID-19
(2021)
During the COVID-19 pandemic, learning in higher education and beyond shifted en masse to online formats, with the short- and long-term consequences for Massive Open Online Course (MOOC) platforms, learners, and creators still under evaluation. In this paper, we sought to determine whether the COVID-19 pandemic and this shift to online learning led to increased learner engagement and attainment in a single introductory biology MOOC through evaluating enrollment, proportional and individual engagement, and verification and performance data. As this MOOC regularly operates each year, we compared these data collected from two course runs during the pandemic to three pre-pandemic runs. During the first pandemic run, the number and rate of learners enrolling in the course doubled when compared to prior runs, while the second pandemic run indicated a gradual return to pre-pandemic enrollment. Due to higher enrollment, more learners viewed videos, attempted problems, and posted to the discussion forums during the pandemic. Participants engaged with forums in higher proportions in both pandemic runs, but the proportion of participants who viewed videos decreased in the second pandemic run relative to the prior runs. A higher percentage of learners chose to pursue a certificate via the verified track in each pandemic run, though a smaller proportion earned certification in the second pandemic run. During the pandemic, more enrolled learners did not necessarily correlate to greater engagement by all metrics. While verified-track learner performance varied widely during each run, the effects of the pandemic were not uniform for learners, much like in other aspects of life. As such, individual engagement trends in the first pandemic run largely resemble pre-pandemic metrics but with more learners overall, while engagement trends in the second pandemic run are less like pre-pandemic metrics, hinting at learner “fatigue”. This study serves to highlight the life-long learning opportunity that MOOCs offer is even more critical when traditional education modes are disrupted and more people are at home or unemployed. This work indicates that this boom in MOOC participation may not remain at a high level for the longer term in any one course, but overall, the number of MOOCs, programs, and learners continues to grow.
The Laocoön group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. “queer gaze” and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using “anachronisme raisonné” (Loraux”) and “écart” (Dupont), this article focuses on case studies from the 2010’s: 1. The untold gay history of Vatican guided tour; the music video Falling, by the “queer cowboy” Drew Beckman. 2. Paintings by Richard Wallace (esp. Laocoön); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.
In her writings on ancient myth, the British author Natalie Haynes moves women to the centre of attention. Her two latest books, A Thousand Ships and Pandora’s Jar – a fiction novel and a non-fiction one – approach this topic from two different perspectives. This interview takes stock of Haynes’ motives and methodology as well as of the challenges she faces in the process of writing.