Academic literature on the topic 'History: Outlines, syllabi'

Abstract The history of fire is an important and fascinating topic, yet it is not covered in any school or university syllabus. In the present article, the author argues a case for its inclusion in chemistry teaching programs. He outlines some key points relating to investigations on the nature of combustion processes and the discovery of oxygen. Details are included for a class experiment with gunpowder, which is suitable for school pupils aged 13 to 15.

Summary This paper examines the origins and evolution of the Chinese linguistic concept known as the sìhū 四呼 “four types of rime onset” that is frequently applied to the description and analysis of Mandarin and Chinese dialect phonology. Through the examination of phonological texts primarily of the Míng (1368–1644) and Qīng (1644–1911) periods, the author follows the evolution of the sìhū as a phonological feature and outlines the development of the sìhū concept as well as the evolution of the actual term “sìhū” The underlying phonology of the sìhū emerged following the divergence of Mandarin from the other dialects in the Sòng (960–1279), through the Yuán (1271–1386), and into the Míng. The discovery and description of the sìhū was closely related to developments in phonological analysis made by Míng scholars as they departed from Middle Chinese tradition (of the 7th to the 12th centuries) and mapped out contemporary Mandarin pronunciation, especially that of the prestige Mandarin koinē known as Guānhuà. The emergence and description of the sìhū are thus found to parallel the evolution of Mandarin, as the phonological categories the sìhū represent evolved in concert with characteristic Mandarin features. The attention that Míng and Qīng scholars gave to the rime onset types of the sìhū analysis demonstrates that the phonological features represented by this four-way paradigm were considered to be important elements of contemporary forms of prestige Mandarin.

The effects of the condemnation of Modernism in the opening decades of the twentieth century were deep and far reaching. The Vatican, continuing its long-standing feud with doctrinal Modernism, took sharp, decisive action on 3 July 1907 when the Holy Office issued a syllabus, Lamentabili sane exitu, listing sixty-five condemned propositions taken mostly from the writings of the noted French theologian and exegete Alfred Loisy.1 Two months later, on 8 September, Pius X renewed the attack with his anti-Modernist encyclical, Pascendi Dominici gregis.2 The encyclical outlined and condemned “most attempts then being made by European Catholics, priests and laity, to incorporate the most recent nonscholastic research and scholarship into the development of theology and scripture studies.”

The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.

In giving the very first lecture that first-year History of Art undergraduates at Oxford will hear, I usually employ the practice of giving them a sheet of paper with nothing on it but the outlines of the land masses of the globe, and ask them to draw a line round ‘the West’. The idea was inspired by a reading of Lewis and Wigen's 1997 bookThe Myth of Continents(‘justly celebrated’, as Sanjay Subrahmanyam says), and remains a useful pedagogic act, up to a point, for the reasons so clearly laid out in that book; also, it breaks the ice, it gets a buzz of conversation going in the room, it certainly foregrounds the topic, central now to art historical enquiry, of the way in which ‘representations are social facts’. But the reason I do not ask them to draw a map round ‘the East’ is that I suspect it would be too easy, or at least done too quickly, and indeed the boundaries of both ‘East’ and ‘Orient’, as ‘Europe's Other’, can be shown to have fluctuated much less than have the boundaries of what, for most Oxford students, is still, if somewhat tenuously, ‘us’ or ‘here’. Wherever ‘the East’ is, it all lies (as Subrahmanyam points out in his lecture) in that assuredly -etic part of the world called Asia. I might, in the privacy of my own hard drive, choose to categorize those European images which I need for teaching as ‘Non-Eastern’ (to balance the ‘Non-Western’ rubric on which my specialist options appear in the syllabus). But that is not a category widely used, or at least not in my own discipline of art history.

Introduction: COVID-19 challenged a graduate medical student Emergency Medicine Clinical Clerkship to transform a 160-hour face-to-face clinical syllabus to a remotely delivered e-learning programme comprising of live streamed lectures, case-based discussions, and telesimulation experiences. This paper outlines the evaluation of the telesimulation component of a programme that was designed as a solution to COVID-19 restriction. Methods: A mixed methods approach was used to evaluate the telesimulation educational activities. Via a post-course online survey student were asked to rate the pre-simulation preparation, level of engagement, confidence in recognising and responding to the four clinical presentations and to evaluate telesimulation as a tool to prepare for working in the clinical environment. Students responded to open-ended questions describing their experience in greater depth. Results: Forty-two (72.4%) out of 58 students responded. 97.62% agreed that participating in the simulation was interesting and useful and 90.48% felt that this will provide a good grounding prior to clinical work. Four key themes were identified: Fidelity, Realism, Engagement and Knowledge, Skills and Attitudes Outcomes. Limitations of telesimulation included the inability to examine patients, perform procedures and experience non-verbal cues of team members and patients; but this emphasised importance of non-verbal cues and close looped communication. Additionally, designing the telesimulation according to defined objectives and scheduling it after the theory teaching contributed to successful execution. Conclusion: Telesimulation is an effective alternative when in-person teaching is not possible and if used correctly, can sharpen non-tactile aspects of clinical care such as history taking, executing treatment algorithms and team communication.

There appears to be no ‘tail end’ in sight for academic enquiry into the worship of Mithras in the Roman Empire. Interest in this ancient religion, and its popularity and longevity as a topic of study, has no doubt been secured by its status as an elective cult and by its rich, and at times controversial, surviving evidence, which is predominantly archaeological in nature and packed with astrological symbolism. No written documentation representing a theological canon, which might outline its origins, traditions and customs, has ever been discovered. Furthermore, the few surviving literary accounts present snapshots of the cult and are written by ‘outsiders’. Though strongly associated with Zoroastrianism, an ancient religion widely worshipped across Asia Minor and Persia, the exact origins of Mithras, his identity as a god, and the development of his worship remain unclear. With the reopening of the London Mithraeum last year the spotlight has once again been cast on the spread and impact of the cult in Roman Britain. This article accompanies pieces in this volume ofJCTand the next which focus on this sacred and once exclusive space. Organised in two sections, part one will begin with a brief introduction to the history of scholarship, focusing mostly on some methodological and theoretical developments in recent studies. Following this, attention will be paid to the nature of the evidence for the mysteries of Mithras and popular interpretations drawn from it. Part two will discuss methods for bringing this rich material to life in the classroom and reflect on pedagogical issues relating to teaching Mithraism as part of the Latin GCSE syllabus. The tried and tested exercises presented in this part of the article and are applicable to a variety of classroom settings, sizes and age groups.

Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational component of musical thinking today. The need for such analysis is connected with vocal-performing training of contemporary choirmasters. The choral collective is a complex musical organism, and its successful work depends not only on the conductor, but also on the performers, therefore, there is a question of improving the complex development of the vocal-technical skills of the choirmaster, taking into account the specifics of his/her future activities. Methods. The scientific and methodological basis of improving the performing skills must be deepened in the issues of the psychology of performance and expanded with the questions of combining the choral performance with theatre. Due to such a methodological basis, it is possible to study extremely complex psychological processes of artistically meaningful vocal intonation, formation, control and implementation of performing skills, peculiarities of the psychological state of the choir performers, etc. The article is based on the analysis of materials on the development of the choral performance in various artistic directions and their synthesis (Kyrylenko, Ya., 2017; Ryzhynsky, A. 2015, 2016; Saponov, M., 1982), as well as the study of psychophysiological regularities of the vocal education in different performance conditions (Lukishko, A. 1984; Morozov, V., 2008, Selezneva, N., 2005). Objectives. The purpose of the article is to consider the performance tasks in the contemporary choral art and to outline the factors that shape the skills for the implementation of these tasks. Results. The analysis of the development of the vocal-choral art proves that vocal-technical means are defined and formed in unity with the performing tasks that characterize certain musical trends, styles or genres. Throughout the 20th century, in the choral art appears the works that became the result of the composers’ search for new versions of the timbre sound. The representatives of the new Viennese school A. Schoenberg and A. Webern were the first to overcome the timbre “conservatism” of the choir. In the choral creative activities by A. Schoenberg, the experiments with the use of timbre can be found. Namely, the use of expressiveness of the unison of the alt and tenor and the falsetto singing of the tenor, which provided for the alignment of the timbre and corrected dynamic misbalance of the artificial ensemble of tenor and soprano. However, the further introduction of falsetto singing was no longer a technical necessity, but became a means of a new expressiveness. The experiments are typical for the choral creativity by A. Webern, where the following two tendencies are clearly distinguished: 1) the jump-like structure of the melody in combination with syllabics; 2) the presence of pauses, which divide the motive into separate intonations. The purpose of the texture transformation was to uncover a fundamentally new sound of the choir, the creation of a new choral timbre. A. Webern achieves the timbre richness through a constant game with various nuances, strokes, and juxtaposition of the singing registers. The Italian composers L. Nono (1924–1990), B. Maderna (1920–1973) and L. Berio (1925–2003) became the followers of Webern’s creative experiments with regard to the organization of sound, the texture of the composition and timbres. In their creative work, they showed the possibility of an organic combination of centuries-old traditions of the vocal art with the latest composition techniques. In the modern choral art, a great interest is paid to theatrical actions during the choral performance. Hence, the new performing tasks rise for both, the conductor and performers of the choir. So, in the dramatized choral performance, a personality of an actor-singer is characterized by a certain complex of skills. The latter include ownership of different types of expressive intonation: vocal intonation, the verbal intonation and the acting intonation or the intonation of the gesture. The choral performer’s instrument is a singing voice. The vocal development of choral singers bases on the objective laws of the singing, the basis for understanding of which is the positions of musical acoustics. The choirmasters need to know, which acoustic patterns influence the formation of the singing voice in the choir, which of its properties develop automatically, and which require special techniques that stimulate an individual development. Another important aspect on which it is necessary to focus attention in the modern vocal education is the improvisational thinking, the ability to creative ingenuity. The tasks of the modern choral art are the preservation, the development, and sometimes the revival of the traditions of improvisational vocal-ensemble music. The solutions of these tasks one should look for in several directions. The first of them is the preservation of the traditions of Western European professional polyphonic (counterpoint) music, which is determined by the highest level of combination of the canonically invariable melody, of the cult or secular, with improvisational melodic decorations. The second is due to the preserving the traditions of collective vocal improvisation in folk singing cultures. The third direction is due to performance tasks, which are provided by the composers’ creativity of contemporary authors. Conclusion. The contemporary choirmaster needs to have a wide range of knowledge in the questions of history and theory of the world music, choral science, vocal pedagogy, acting skills, psychology, without which it is impossible to solve numerous issues that constantly arise in practice. The choirmaster must develop a critical and analytical thinking in him/her, be able to judge right the work of his/her mind and be thoughtful in the actions. The creative approach in work contributes to the flexibility in solving any problems – perhaps, it allows to abandon the usual techniques in work, which at the present moment do not produce the desired results. Practice is the only criterion for the truth of the selected actions.

The article studies and discusses the programs of interrelated lecture courses on General and Special Methodology of Translation, developed for the Ukrainian Institute of Linguistic Education by its professors Mykhailo Kalynovych and Mykola Zerov in September 1932. This material is analyzed from the perspective of psycholinguistic text theory, according to which the text is the basic unit of discourse that, in turn, is a component of communicative action, along with the situation. The study focuses on the micro- and macrotext structure of the above programs and highlights the peculiarities of their communicative intentions in the political and social reality of early Stalinism. It features the unique, innovative elements in them, but also those that were typical of the early Soviet theory of translation. For the first time not only in Ukrainian but also in the All-Union thought on translation, Kalynovych and Zerov presented in their integrated courses the ramified structure of Translation Studies as a multifaceted discipline. They introduced into the discipline novel methodology and new research directions, particularly by creating such areas as the history of translation studies and translation management. The material of Zerov's syllabus on Special Methodology of Translation is first published and discussed in this article. The typewritten text of the syllabus remained unknown until the author of the article found and identified it in the Archives of the Literary Museum of Hryhoriy Kochur, who had been a student of Zerov at the Kyiv Institute of Public Education and further remained his faithful follower. During the Khrushchev thaw, Kochur made many efforts to rehabilitate the name of Zerov – a distinguished literary scholar, lecturer, and poet-translator. The syllabus on General Methodology of Translation outlined by professor Kalynovych was found earlier in the same Archives and published in 2015. However, this article pioneers its presentation and analysis in mutual complementarity with the syllabus by Zerov.

Artiklis vaadeldakse eellugu nähtusele, mida Andrei Azov nimetas „bukvalistide kukutamiseks“ ning mis viis pooleks sajandiks nn nõukogude tõlkekoolkonna monopolini. Selle nähtuse algust näeme 1934. aastas, mil ilmusid ja said professionaalse arutelu objektiks silmapaistavate vene filoloog-tõlkijate Gustav Špeti ja Boriss Jarho novaatorlikud võõrapärastavad tõlked ja samal ajal seoses Nõukogude kirjanike esimese kongressiga leidis aset toores heteronoomia sissetung tõlkevälja ning tekkis sellest heteronoomiast kasu lõikav kriitiline diskursus. Olulisemate filoloog-tõlkijate hukkumine suure terrori ajal aitas kaasa kriitikute võidukäigule tõlkijate üle ja sealhulgas vene tõlkeajaloo retrospektiivsele moonutamisele, mida käesolev artikkel püüab parandada. Toetudes Lawrence Venuti tuntud teooriale võõrapärastavast ning kodustavast tõlkest, on seda dihhotoomiat diferentseeritud vastavalt nõukogude heteronoomsetele tingimustele. The article discusses the pre-history of what Andrey Azov famously called “the overthrow of the literalists”, and the beginning of the half-a-century domination of the “Soviet school of translation” in Russia. It aims to locate and scrutinise the moment when the previous translation trend, later pejoratively labelled as “literalism”, gave way to the “Soviet school”. In the post-war years, the Russian translators Evgeny Lann and Georgy Shengeli were subjected to harsh criticism as “literalists” by the literary critic, translator and translation theorist Ivan Kashkin. In the official history of Soviet translation as outlined in the Literary Encyclopedia (1968), they were presented as key figures of a translation trend, also labelled “formalist” and “technologically exact”, both post- and pre-war. This version of the history of Soviet translation, still resounding even in Azov’s study (2013), is strongly distorted and needs to be rewritten in a more analytical way. Primarily, the term “literalists”, that was used loosely and pejoratively at the time, can by no means serve as instrumental today. One of the most adequate self-labels of this trend in translation that had its heyday throughout the 1930s, notably in the activities of the Academia publishing house and the Commission for the Study of Literary Translation at the Moscow State Academy of Art Sciences (GAKhN), is “artistically scientific”. In order to describe the trend adequately it should be noted that the “nomination” of Lann and Shengeli as “literalists” and the main targets of post-war criticism owes primarily to the fact that the much more influential key figures of this “school”, mentioned in the Literary Encyclopedia (1934) as the “best present-day translators” – Mikhail Kuzmin, Adrian Pyotrovsky, Boris Yarkho, Mikhail Petrovsky – had either died (Kuzmin) or fallen victim to the great purges that hit also the GAKhNovites, including Gustav Shpet. Their names became unmentionable, while the translation projects and discussions of the 1930s associated with them could not be properly considered in translation histories. In order to reconstruct the true history of Soviet translation they have to be restored to their rightful place. The pivotal point that marked both the acme of the “artistically scientific” translation, as well as the beginning of its demise, was the year 1934. It famously saw the First All-Union Congress of Writers at which translation was declared not the “private domain of a couple of literary pedants, not the academic theme for a philologist’s thesis, but an affair of utmost state importance”. Integration of translation into Stalinist national politics (discussions at the Writers’ Congress were centred on the interests of Soviet nationalities and on praising the free translations made by poets) resulted in a drastic decline of autonomy in the field and in the competition between critics profiting from the heteronomy concerning who would define the true “Soviet translation” and thus have the power to judge. The brilliant samples of scientifically founded translations of classics that appeared in 1934 – Boris Yarkho’s rendition of the medieval romance La Chanson de Roland and Gustav Shpet’s new Russian Dickens and Shakespeare (both to become virtually erased from the history of Soviet translation later on) became the focal point of the dispute over what “Soviet translation” should be. The article reconstructs both Yarkho’s and Shpet’s philologically based translation premises and the conflicting reception of their work by fellow philologists and by politically motivated critics. The transcript of a 1934 discussion held after Evgeny Lann’s report on the principles of the new Dickens translations preserved in the archives clearly shows that, at the time, all discussants, including Kashkin, addressed not Lann but Shpet as the real source of these principles and that it was only after Shpet’s arrest and death that the spearhead of criticism was aimed at Lann (who, unlike Shpet, unfortunately lacked the philological and spiritual stamina and weight to confront it decisively). As for Yarkho’s attempt to invent a Russian poetic diction adequate for rendering French syllabic verse and the heterogeneous style of the medieval war epic, it was both daring and philologically grounded and had been highly praised as a model “Soviet translation” by major philologists working in the field of translation, e.g. Mikhail Alexeev, Alexander Smirnov and Rosalia Shor. At the same time, critics trying to speak in accordance with the political line would criticise it harshly, programmatically declaring their preference for the outdated free-verse translation into Russian made by de la Barthe. In the history of Soviet translation, the transition from the “artistically scientific” or, to use a more familiar term, foreignising trend that had been flourishing throughout the 1930s and given brilliant practical as well as theoretical results, to a domesticating, ahistorical “Soviet school” that lacked theoretical reflection was not a natural evolution. Instead, it constituted a brutal intrusion of heteronomy into the field of translation, the triumph of politically oriented literary critics over professional translators and philologists that was strongly facilitated by the fact that many of the latter were repressed and, consequently, their names and works were erased from the history of Soviet translation.

Text in Afrikaans
Summaries in Afrikaans and English
The supposition exists that the Transvaal Education Department's Senior Primary Class Music syllabus is not being implemented in all aspects and that this is connected to teacher training. An empirical investigation was launched using three questionnaires and a classroom field study. Two questionnaires, completed by Class Music teachers, were used to assess to what extent the school syllabus was being followed. Teachers also had to provide information about their training in Class Music teaching. The third questionnaire offered a structured interview with school principals. The actualisation of Class Music, extra curricular music activities, the role of the teacher and teacher training were examined. Lessons for standard two pupils at twenty schools, were presented for an in-depth investigation. The results were tabulated, summarised in bar graphs and interpretations rendered. According to the findings, recommendations with regard to curriculum, the implementation of the syllabus, and tertiary Class Music training were made.
Daar is vermoed dat die seniorprimere Klasmusieksillabus van die Transvaalse Onderwysdepartement gedeeltelik gelmplementeer word en dat df t verband hou met onderwysersopleiding. In die lig hiervan is 'n empiriese ondersoek geloods deur middel van drie vraelyste en deur veldwerk. In die twee vraelyste wat deur Klasmusiekonderwysers voltooi is, is nagevors in watter mate die skoolsillabus gelmplementeer word. Verder het die onderwysers hulle Klasmusiekopleiding in hierdie verband aangetoon. Die derde vraelys vorm die raamwerk vir 'n gestruktureerde onderhoud met skoolhoofde. Die realisering van Klasmusiek, buite-kurrikulere musiekaktiwiteit en die rol van die onderwyser en onderwysopleiding is nagegaan. In 'n diepte-ondersoek is lesse by twintig skole vir standerdtweeleerlinge aangebied. Die resultate word in tabelle uiteengesit en in staafdiagramme saamgevat, terwyl waarnemings weergegee word. Op grondhiervan word aanbevelings gemaak oor kurrikulering, sillabusimplementering en tersiere Klasmusiekopleiding.
Art History, Visual Arts & Musicology
M.Mus

Chapter 6 provides several sample syllabi for music classes, including: Applied Music, Theory, Aural Skills, Music History, Survey of Music for Nonmajors, and Brass Techniques. Details are provided for considering course titles, course descriptions, required and recommended materials, grading criteria, calendar outlines.