Suchergebnisse

For Marxism history is the process by which man transforms himself by transforming the economic conditions of his existence through work. The expression of this process on the social level is the class struggle through which the rising class, corresponding to the economic infrastructure of the future, tends to substitute itself for the exploiting class which is the expression of the outworn infrastructure. To exist is to engage in this conflict and thus participate in the movement of history. Now very often Christians, in order to oppose Marxism, remain on the Marxist plane. They are satisfied to set up one social doctrine against the other. We propose to show in this article that while it is true that there is a Christian social doctrine, and one superior to that of Marxism, the true superiority of Christianity does not lie in this. Its superiority consists, on the contrary, in the fact that it has not only a social doctrine but very different dimensions as well and is thereby capable of giving an integral interpretation of human existence while Marxism only touches the surface of it.

Latest issue consulted: No. 57 (winter 2003). ; Distributed to depository libraries in microfiche. ; Mode of access: Internet.

This article approaches Finnish documentary films as part of current history culture and 'sense of history'. Through three examples of Finnish documentary films, it examines the relationship between history documentaries and academic history with reference to the modes of documentary filmmaking and to history theories. In analysing the films, the 'orientation' of the films as well as their 'organization' is of interest. The article is particularly interested in national history representations and media memory. It emphasizes the production context of the films. The article suggests that in order to understand history documentaries as a part of history culture means taking into consideration the particular history culture in question, the documentary tradition of a country, and, first of all, the production context of a documentary. ; This article approaches Finnish documentary films as part of current history culture and 'sense of history'. Through three examples of Finnish documentary films, it examines the relationship between history documentaries and academic history with reference to the modes of documentary filmmaking and to history theories. In analysing the films, the 'orientation' of the films as well as their 'organization' is of interest. The article is particularly interested in national history representations and media memory. It emphasizes the production context of the films. The article suggests that in order to understand history documentaries as a part of history culture means taking into consideration the particular history culture in question, the documentary tradition of a country, and, first of all, the production context of a documentary. ; Peer reviewed