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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.
MOOCs have been produced using a variety of instructional design approaches and frameworks. This paper presents experiences from the instructional approach based on the ADDIE model applied to designing and producing MOOCs in the Erasmus+ strategic partnership on Open Badge Ecosystem for Research Data Management (OBERRED). Specifically, this paper describes the case study of the production of the MOOC “Open Badges for Open Science”, delivered on the European MOOC platform EMMA. The key goal of this MOOC is to help learners develop a capacity to use Open Badges in the field of Research Data Management (RDM). To produce the MOOC, the ADDIE model was applied as a generic instructional design model and a systematic approach to the design and development following the five design phases: Analysis, Design, Development, Implementation, Evaluation. This paper outlines the MOOC production including methods, templates and tools used in this process including the interactive micro-content created with H5P in form of Open Educational Resources and digital credentials created with Open Badges and issued to MOOC participants upon successful completion of MOOC levels. The paper also outlines the results from qualitative evaluation, which applied the cognitive walkthrough methodology to elicit user requirements. The paper ends with conclusions about pros and cons of using the ADDIE model in MOOC production and formulates recommendations for further work in this area.
Als langjähriges und aktives Mitglied der Gesellschaft Naturforschender Freunde zu Berlin bestimmte Ehrenberg ihre Aktivitäten und ihr Ansehen maßgeblich mit. Seine Beiträge zu den Sitzungen und Schriften und seine Rolle als Bewohner des gesellschaftseigenen Hauses förderten in der GNF sowohl Fortschritt als auch Beständigkeit. Das Ziel der Naturgeschichte des 18. Jahrhunderts, also die Entdeckung, Beschreibung und Bewahrung möglichst aller Organismen- und Gesteinsarten, wurde in der GNF bis in die zweite Hälfte des 19. Jahrhunderts tradiert. Ehrenbergs wissenschaftliche Leistungen, insbesondere seine zahlreichen Entdeckungen mit Hilfe des Mikroskops, stehen ganz in dieser Tradition.
The COVID-19 pandemic emergency has forced a profound reshape of our lives. Our way of working and studying has been disrupted with the result of an acceleration of the shift to the digital world. To properly adapt to this change, we need to outline and implement new urgent strategies and approaches which put learning at the center, supporting workers and students to further develop “future proof” skills. In the last period, universities and educational institutions have demonstrated that they can play an important role in this context, also leveraging on the potential of Massive Open Online Courses (MOOCs) which proved to be an important vehicle of flexibility and adaptation in a general context characterised by several constraints. From March 2020 till now, we have witnessed an exponential growth of MOOCs enrollments numbers, with “traditional” students interested in different topics not necessarily integrated to their curricular studies. To support students and faculty development during the spreading of the pandemic, Politecnico di Milano focused on one main dimension: faculty development for a better integration of digital tools and contents in the e-learning experience. The current discussion focuses on how to improve the integration of MOOCs in the in-presence activities to create meaningful learning and teaching experiences, thereby leveraging blended learning approaches to engage both students and external stakeholders to equip them with future job relevance skills.
This article focuses on the feminist reception of Zenobia of Palmyra in Great Britain during the long nineteenth century and the early twentieth century. A special focus lies on her reception by the British suffragettes who belonged to the Women’s Social and Political Union. Even though Zenobia’s story did not end happily, the warrior queen’s example served to inspire these early feminists. Several products of historical culture – such as books, pieces of art, newspaper articles and theatre plays – provide insight into the reception of her as an historical figure, which is dominated by the image of a strong and courageous woman. The article will shed light on how exactly Zenobia’s example was instrumentalised throughout the first feminist movement in Britain.
American occupying forces made the promotion of Jewish-Christian dialogue part of their plans for postwar German reconstruction. They sought to export American models of Jewish-Christian cooperation to Germany, while simultaneously validating and valorizing claims about the connection between democracy and tri-faith religious pluralism in the United States. The small size of the Jewish population in Germany meant that Jews did not set the terms of these discussions, and evidence shows that both German and American Jews expressed skepticism about participating in dialogue in the years immediately following the Holocaust. But opting out would have meant that discussions in Germany about the Judeo-Christian tradition that the American government advanced as the centerpiece of postwar democratic reconstruction would take place without a Jewish contribution. American Jewish leaders, present in Germany and in the US, therefore decided to opt in, not because they supported the project, but because it seemed far riskier to be left out.
In the context of the Fostering Women to STEM MOOCs (FOSTWOM) project, we present here the general ideas of a gender balance Toolkit, i.e. a collection of recommendations and resources for instructional designers, visual designers, and teaching staff to apply while designing and preparing storyboards for MOOCs and their visual components, so that future STEM online courses have a greater chance to be more inclusive and gender-balanced. Overall, The FOSTWOM project intends to use the inclusive potential of Massive Open Online Courses to propose STEM subjects free of stereotyping assumptions on gender abilities. Moreover, the consortium is interested in attracting girls and young women to science and technology careers, through accessible online content, which can include role models’ interviews, relevant real-world situations, and strong conceptual frameworks.
Très peu d’originaux nous permettent de connaître la statuaire grecque ancienne. Eu égard à la grande production de statues en bronze, un nombre très limité d’oeuvres a été sauvé de la fureur du temps et des hommes. Le reste nous est connu de manière partielle et imparfaite par les copies romaines en marbre ou par des notes rapides d’auteurs anciens, qui mentionnent des artistes et des oeuvres dont le seul nom demeure. La découverte de statues en bronze de production grecque est donc un événement exceptionnel d’un point de vue scientifique. Les « Bronzes de Riace » ont notamment eu, dès leur découverte en 1972, une immense influence dans la culture populaire, que nous allons aborder dans cet article sous l’angle des Reception Studies, en essayant d’intégrer ces réflexions au débat sur leur perception dans le monde contemporain, déjà abordé par deux volumes sortis en 1986 et 2015 (Gli eroi venuti dal mare/Heroes from the sea et Sul buono e sul cattivo uso dei Bronzi di Riace1), en portant une attention particulière au Web et aux réseaux sociaux.
1 Je remercie Maurizio Paoletti et Fabien Bièvre-Perrin pour la relecture de cet article ; Domenico Benedetto D’Agostino pour m’avoir fait connaître, il y a quelques années, le poème de Felice Mastroianni dédié au Bronzes de Riace ; l’Archivio du Musée Archéologique National de Reggio Calabria, Mike_art04, le collectif La Psicoscimmia et Emanuela Robustelli pour les images qu’ils ont partagées.