Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!
The Presented Past is concerned with the differences between the comparatively static, well-understood way in which the past is presented in schools, museums and at historic sites compared to the approaches currently being explored in contemporary archaeology. It challenges the all-too-frequent representation of the past as something finished, understood and objective, rather than something that is `constructed' and therefore open to co-existing interpretations and constant re-interpretation. Central to the book is the belief that the presentation of the past in school curricula and in museum and site interpretations will benefit from a greater use of non-documentary sources derived from archaeological study and oral histories. The book suggests that a view of the past incorporating a larger body of evidence and a wider variety of understanding will help to invigorate the way history is taught. The Presented Past will be of interest to teachers, archaeologists, cultural resource managers, in fact anyone who is concerned with how the past is presented.
"This is an important book that fills an important niche: a careful and comprehensive report to the field on the development and possibilities of online history."—Stephen Brier, Associate Provost and Dean for Interdisciplinary Studies, Graduate Center, CUNY
FOREWORD BY GUY KAWASAKI Presentation designer and internationally acclaimed communications expert Garr Reynolds, creator of the most popular Web site on presentation design and delivery on the Net — presentationzen.com — shares his experience in a provocative mix of illumination, inspiration, education, and guidance that will change the way you think about making presentations with PowerPoint or Keynote. Presentation Zen challenges the conventional wisdom of making "slide presentations" in today’s world and encourages you to think differently and more creatively about the preparation, design, and delivery of your presentations. Garr shares lessons and perspectives that draw upon practical advice from the fields of communication and business. Combining solid principles of design with the tenets of Zen simplicity, this book will help you along the path to simpler, more effective presentations.
In this innovative and original collection, people are seen as active agents in the development of new ways of understanding the past and creating histories for the present. Chapters explore forms of public history in which people's experience and understanding of their personal, national and local pasts are part of their current lives.
Who reads academic histories? Should historians reach out more beyond academia to the general public? Why do Hollywood films, historical novels and television histories prove more successful in presenting the past to a wider audience? What can historians do to improve their effectiveness in reaching and engaging their target audience in a digital age? The way history is presented to an audience is often taken for granted, even ignored. Presenting History explores the vital role played by presenters in both establishing why history matters in today's world and communicating the past to audiences within and outside academia. Through case studies of leading historians, historical novelists, Hollywood filmmakers and television history presenters, this book looks critically at alternative literary and visual ways of presenting the past as both academic history and popular history. Historians discussed include Stephen Ambrose, Niall Ferguson, Eric Hobsbawm, Robert A. Rosenstone, Simon Schama, Joan Wallach Scott and A.J.P. Taylor. Chapter topics include Hollywood and history; Michael Bellesiles' controversial history of gun rights in the USA; Philippa Gregory's historical novels; historians and the David Irving trial; and Terry Deary's 'Horrible Histories'. Raising serious questions about the nature, study and communication of history, Presenting History is an essential text for historians and history students, as well as anyone involved in listening to, reading, or watching presenters of the past.
The Presented Past is concerned with the differences between the comparatively static, well-understood way in which the past is presented in schools, museums and at historic sites compared to the approaches currently being explored in contemporary archaeology. It challenges the all-too-frequent representation of the past as something finished, understood and objective, rather than something that is `constructed' and therefore open to co-existing interpretations and constant re-interpretation. Central to the book is the belief that the presentation of the past in school curricula and in museum and site interpretations will benefit from a greater use of non-documentary sources derived from archaeological study and oral histories. The book suggests that a view of the past incorporating a larger body of evidence and a wider variety of understanding will help to invigorate the way history is taught. The Presented Past will be of interest to teachers, archaeologists, cultural resource managers, in fact anyone who is concerned with how the past is presented.
How does the historian approach memory and how do historians use different sources to analyze how history and memory interact and impact on each other? Memory and History explores the different aspects of the study of this field. Taking examples from Europe, Australia, the USA and Japan and treating periods beyond living memory as well as the recent past, the volume highlights the contours of the current vogue for memory among historians while demonstrating the diversity and imagination of the field. Each chapter looks at a set of key historical and historiographical questions through research-based case studies: How does engaging with memory as either source or subject help to illuminate the past? What are the theoretical, ethical and/or methodological challenges that are encountered by historians engaging with memory in this way, and how might they be managed? How can the reading of a particular set of sources illuminate both of these questions? The chapters cover a diverse range of approaches and subjects including oral history, memorialization and commemoration, visual cultures and photography, autobiographical fiction, material culture, ethnic relations, the individual and collective memories of war veterans. The chapters collectively address a wide range of primary source material beyond oral testimony – photography, monuments, memoir and autobiographical writing, fiction, art and woodcuttings, ‘everyday’ and ‘exotic’ cultural artefacts, journalism, political polemic, the law and witness testimony. This book will be essential reading for students of history and memory, providing an accessible guide to the historical study of memory through a focus on varied source materials.
Rupert Sheldrake's theory of morphic resonance challenges the fundamental assumptions of modern science. An accomplished biologist, Sheldrake proposes that all natural systems, from crystals to human society, inherit a collective memory that influences their form and behavior. Rather than being ruled by fixed laws, nature is essentially habitual. The Presence of the Past lays out the evidence for Sheldrake's controversial theory, exploring its implications in the fields of biology, physics, psychology, and sociology. At the same time, Sheldrake delivers a stinging critique of conventional scientific thinking. In place of the mechanistic, neo-Darwinian worldview he offers a new understanding of life, matter, and mind.