Suchergebnisse

This book identifies, traces, and interrogates contemporary American culture's fascination with forensic science. It looks to the many different sites, genres, and media where the forensic has become a cultural commonplace. It turns firstly to the most visible spaces where forensic science has captured the collective imagination: crime films and television programs. In contemporary screen culture, crime is increasingly framed as an area of scientific inquiry and, even more frequently, as an area of concern for female experts.

This book identifies, traces, and interrogates contemporary American culture's fascination with forensic science. It looks to the many different sites, genres, and media where the forensic has become a cultural commonplace. It turns firstly to the most visible spaces where forensic science has captured the collective imagination: crime films and television programs. In contemporary screen culture, crime is increasingly framed as an area of scientific inquiry and, even more frequently, as an area of concern for female experts. One of the central concerns of this book is the gendered nature of e

Scientific illustration as an independent genre represents the specifics of the concept of "scientific" that has developed over three centuries of the development of the scientific method of European classical natural science. The basic characteristics of the scientific method and its private tools (including illustrations) are impartial, non-judgmental, non-subjective, emotionless modeling of the objects being studied and depicted. Illustrated popular science publications for children, as a tool of non-formal education with a supposed dual addressing, find themselves on the boundary line between scientific and educational illustrations. The complexity of the format is that it must be scientific, children educational, entertaining and popular at the same time. In handdrawn illustrations for such books, two very different ways of presenting the material can be distinguished. The article discusses the status of illustrations in terms of the possibility of classifying them as scientific in a children's guidebook, made in a sketchy manner.

The article is devoted to the issue, which has not been actually studied in bibliology and culture studies − the origin and formation of noniction books and periodicals as an independent genre in Russia. Indeed, today, when the circulation of popular science periodicals dropped by several orders of magnitude compared with the end of the 1980s, it seems highly improbable that in Russia, destroyed by the First World War and the Civil War, that popular scientiic literature amounted more than a third (36 %) of total books production. Even political literature noticeably lagged behind this igure. Based on rich archival, bibliographic and statistical material of the second half of the XVIII − beginning of the XXI century, found in the inaccessible primary sources, many of which have become a rarity, the author makes an attempt to reconstruct the social mechanisms of formation of the popular science genre. It is shown that one can not speak about the popular science genre as a once and for all formed phenomenon. The complexity of a clear deinition of the genre of scientiic popularization is explained by the fact that this genre is essentially historical. The author suggests using a model of the historical dynamics of the popular science genre he has developed – "Popular Science" / "Industrial Education" / "Entertaining Science" / "Nauchpop" (Popular Science 2.0) – in the analysis of the evolution of forms of popularization of science in Russia. It is shown that in our country the development of scientiic popularization began approximately a century later than in the West, having bypassed the Popular Science stage. In fact, this stage was combined with the stage of the "Industrial Education". It is important to keep in mind, at least in order to adequately deine the subject in the course of today's multiple discussions about the place and role of science popularization in society.

En este artículo reflexionamos sobre la Educación en Ciencias a partir de nuestras experiencias educativas junto con docentes en el sistema público, movimientos sociales y organizaciones políticas. Estas experiencias nos sirven de suelo desde donde vislumbrar nuevos caminos en diálogo con una diversidad de referencias teóricas de distintas disciplinas y espacios. Buscamos seguir pensando una pedagogía crítica sobre los mundos sociales, naturales y tecnológicos que tenga como objetivo el fortalecimiento de procesos de transformación social. ; In this article we reflect on Education in Natural Sciences, from our educational experiences with teachers in the public system, social movements and political organizations. These experiences serve as a base from which we can glimpse new paths, in a dialogue with a diversity of theoretical references from different disciplines and areas. We intend to continue thinking about a critical pedagogy in the natural and technological worlds with the objective of strengthening processes of social transformation. ; Cet article aborde l'Éducation en Sciences à partir de nos expériences éducatives auprès des professeurs de l'enseignement public, des mouvements sociaux et d'organisations politiques. Ces expériences nous ont servi de base pour déceler, en dialogue avec une diversité de références théoriques issues de différentes disciplines et d'espaces disctincts.de nouvelles voies de travail. Nous avons essayé de penser toujours à une pédagogie critique concernant les mondes sociaux, naturels et technologiques dont l'objectif est de renforcer les processus de transformation sociale. ; Neste artigo refletimos sobre a Educação em Ciências a partir das nossas experiências educativas com professores do sistema público, movimentos sociais e organizações políticas. Essas experiências representam uma base da qual vislumbramos novos caminhos, ao dialogar com uma diversidade de referências teóricas de diferentes disciplinas e espaços. Tentamos continuar pensando em uma pedagogia crítica sobre os mundos sociais, naturais e tecnológicos cujo objetivo seja o fortalecimento de processos de transformação social. ; Instituto de Física de Líquidos y Sistemas Biológicos

Victorian culture was characterized by a proliferation of shows and exhibitions. These were encouraged by the development of new sciences and technologies, together with changes in transportation, education and leisure patterns. The essays in this collection look at exhibitions and their influence in terms of location, technology and ideology

Acknowledgements; List of Contributors; List of Figures and Tables; Introduction; 1. Spectacle om Leicester Square; 2. Fetes, Bazaars and Conversaziones; 3. The Afterlife of Freak Shows; 4. Beyond Scientific Spectacle; 5. Daniel William Cahill and the Rhetorical Geography of Science and Religion; 6. Narrativizing 'The World's Show'; 7. The Talking Fish; 8. Representation, Race and the Zoological Real in the Great Gorilla Controversy of 1861; 9. On Wonder; 10. Meeting the Zulus; 11. Unwrapping the Past; 12. 'The Wandering Friend'; Notes; Index.