Suchergebnisse

There is a huge literature relevant to exploring aspects of the interrelationships between nationalism and warfare, but there are few systematic accounts of these linkages.

Purpose of the study: This study aims to bridge the gap in the dispute over the beginning of modern Indonesian literature and determine which literary work marked the beginning of modern Indonesian literature. Methodology: This uses close reading over selected texts on the usage of specific words in Malay used in anti-colonialism political movement and the existence of the words Indonesia, bangsa, negeri, tanah air, and tumpah darah as the central themes for the development of the analysis from the selected texts. The selected texts are four novels published in the Dutch East Indies in the early of twentieth century: Student Hidjo (1919), Hikajat Kadiroen (1920), Azab dan Sengsara (1920), and Sitti Nurbaja (1922). Main Finding: We find that Azab dan Sengsara and Sitti Nurbaja have the word Indonesia and help conceptualize the new idea of the homeland. Whilst Student Hidjo and Hikajat Kadiroen do not see beyond the land of Java and they only relate the Dutch East Indies to the land of Java. We argue that Sitti Nurbaja marked the beginning of modern Indonesian literature. Implications: The debate over the beginning of modern Indonesian literature should stop with the finding of this study that Azab dan Sengsara and Sitti Nurbaja mark the beginning of modern Indonesian literature. While Student Hidjo and Hikajat Kadiroen must be named as the modern pre-Indonesian literary works.

Introduction to measurement -- The one-parameter model -- Joint maximum likelihood parameter estimation -- Marginal maximum likelihood parameter estimation -- The two-parameter model -- The three-parameter model -- Rasch models for ordered polytomous data -- Non-Rasch models for ordered polytomous data -- Models for nominal polytomous data -- Models for multidimensional data -- Linking and equating -- Differential item functioning -- Multilevel IRT models.

Gjergj Fishta is one of the most extensively analyzed writers of Albanian literature. Although he was disowned during the communist period in Albania, his undeniable literary values brought about a restored interest into his work by many scholars. For a long time, during the communist censorship up. until 2014, many discussions and writings occurred regarding the ban of some writers during the period 1912 to 1939, including Fishta. Such a conclusion emerges due to the fact that various critical and literary works into the history of literature, as well as post-war anthologies, whether individual or group writings, failed to afford Fishta with his due place. Furthermore, following the democratization of Albania, the prohibition of Fishta's writings over the course of half a century has been the subject of many writings. Therefore, this paper will analyze Fishta in communist times, his inclusion in histories of Albanian literature after 1968, which coincided with the year when the manuscript "The History of Albanian Literature 1912 - 1939" was prohibited. In particular, the proceeds with an evaluation and analysis of Fishta's writings in these histories, including the manuscript itself.

Abstract
Creative artists can achieve cross-media integration of literature and dance. Blood Carmen, the novel by Hong Kong writer Huang Biyun, combines the rhythm and beat of literature with that of flamenco dance into a unified whole, tapping out a unique artistic work. First, the form of dance is blended into the form of language in order to create a unified, dynamic narrative. Second, literary style is blended with the style of dance. Third, the author, through her portrayal of the dancers' lives, expertly evokes aspects of the unspeakable pain life often brings. Huang Biyun's own soul resonates with flamenco, and from this deep, personal experience she has given us new possibilities for the cross-media narrative.

PurposeThis paper aims to develop an understanding of the factors that influence knowledge‐sharing behaviour within an organisational framework, using widely accepted social psychology theories.Design/methodology/approachKnowledge‐sharing behaviour of bank employees in Greece is examined using an aggregate model, which is based on the theory of planned behaviour. The suggested research model was tested using structural equation modelling.FindingsThe results indicate that intention to share knowledge is mainly influenced by employees' attitude toward knowledge sharing, followed by subjective norms.Research limitations/implicationsKnowledge‐sharing behaviour was examined solely focusing on salient beliefs. Findings should be confirmed using a larger sample, as well as through cross‐sectional studies.Practical implicationsThe results highlight the necessity of creating a climate that would help individuals develop a more favourable attitude toward knowledge sharing as well as the important role of the perceived social pressure by organisational members (peers, supervisors, senior management) on the intention of individuals to share knowledge.Originality/valueThe main contributions of this study are the following: examination of the knowledge sharing in the banking sector; testing of a specific well‐known research model in the South‐Eastern European environment; examination of the actual knowledge‐sharing behaviour and not only of the behavioural intention to share knowledge and, finally, examination of the direct effect of the perceived behavioural control on knowledge‐sharing behaviour, which, although suggested by theory, has been neglected by previous studies.

Willis reviews 'The Post-Colonial Literature of Lusophone Africa,' by Patrick Chabal with Moema Parente Augel, David Brookshaw, Ana Mafalda Leite, and Caroline Shaw.

Whilst there may be aesthetic tropes within digital media, there is no universally accepted authority within contemporary culture nor is there an easy mutual acceptance of what is "right and proper" or indeed legitimate outside the now virtue of being popular and well followed. Indeed the now bodily distanced and disinhibited digital citizen frequently demonstrates a palpable distain for the elite and pretentious. Considering this, any community with Literature in its name may have an identity problem; literariness still pertains to an elevated quality of artistic or intellectual merit and is thus counter to popular cultural production. In addition, mainstream culture has successfully commoditized many counter-cultural communities. Electronic Literature has arguably not been through such commodification processes, and the question of interest is why not? To that extent this paper seeks to explore possible answers. Investigating the broader shifts towards increased visuality within modern culture the paper will discuss and revisit the discourses on the power structures of the gaze, consider spectatorship's dominance over readership and interaction and co-creation and the function of the image within contemporary narrative forms inside and outwith Electronic Literature. The paper will also consider the politics implied in the move to open access, the fluid distribution of often context-less "images", how this relates to prior notions of literary publishing, and whether this manifests as an opportunity or a challenge to Electronic Literature's dissemination. Lastly and toward a conclusion, the paper will propose that if we consider the tradition of literature as one that is driven by the expression of human experience, where in today's context literary "traditions" are not longer built around specific commonalities of form (i.e. predominately verbal language) but rather subject matter, themes and worldviews then the questions of identity and of "literariness" can evaporate to make space for fuller participation in the ocular freedoms in contemporary culture.

Contributors unabashedly recognise the imperative to transfigure the study of Canadian literature to mirror the dramatic changes it has undergone since the 1960s and 70s.

Dissemination of knowledge of the Geneva Conventions is not merely a long-term task—it is a permanent one. One age group succeeds another ; generation succeeds generation ; the students become teachers and forgotten lessons of the past fade into the background of a past which is itself forgotten.

In literate societies, publication is a major mode of the dissemination of knowledge. Far from being a neutral middleman in this process, the publisher influences both the production and consumption of intellectual works. The publisher forms an important part of the institutional setting in which authorship takes place. By commissioning authors to write some works, and through his influence at the editorial stage, the publisher influences the content of what is written. The publisher acts as a gatekeeper, determining which works will be made available to the public. He oversees the reproduction of works in multiple copies, determining the kind of book which is made from a work. Although normally not responsible for the distribution of books to consumers, the publisher plays a role in distribution both across geographical space and to different groups of readers. Through his role at the stages of production, assessment, reproduction and distribution, the publisher influences the consumption of knowledge. However, consumers also influence the publisher, and the publisher's decisions are made in light of his conception of the audience.