Oral History and Documentary

My doctoral dissertation examines the experiences of the Italian volunteers in the Waffen-SS troops using in-depth interviews with former volunteers as the main primary source. This phenomenon, even if significant in size (depending on the source, some 15 000-20 000 Italian men volunteered in the Waffen-SS), has been hitherto largely unknown to historical research. The available literature on the Italian volunteers, mainly written by military history enthusiast journalists and methodologically weak, concentrates mainly on the combat operations and military organization, and offers a rather stereotypical profile of the volunteers.

My dissertation does not aim to reconstruct the military history of the different divisions of the Waffen-SS in which Italian volunteers operated but instead to examine the subjective, private and intimate experience of the volunteers in order to understand the motivations, attitudes, beliefs and cultural and family background, as well as their political ideas. The main objective of my doctoral dissertation is to discover the ideological precepts of the volunteers’ political credo. As the last phase of fascism and its ideology, often defined as the “Germanisation” or “Nazification” of fascism, is still the object of wide academic debate, a better understanding of the volunteers’ ideology also contributes to deepening overall knowledge of the nature of this last phase.

The theoretical frame of my dissertation lies in oral history, in particular in the postmodernist approach to oral history, through which I reconstruct the volunteers’ ideology. In-depth interviews with former volunteers are the main primary source, but multiple data collection methods have been adopted. Phone interviews and correspondence with the volunteers have also been considered as primary sources. In addition to interviews and correspondence, family archives consisting of diaries, correspondence with the volunteers’ relatives and photographic material have also been collected and examined. An ethnographic observation of the volunteers’ domestic spaces has been conducted during the in-depth interviews, and photo self-elicitation techniques have been used in cases where the volunteers were willing to share their photographs.

An exhaustive portrait of the ideological structure of the volunteers has been obtained, as well as of the cultural and social origins of the values that contributed to the rise and adoption of this ideology. Further, the volunteers’ motivations to enlist have been clearly reconstructed, together with their cultural, political, social and military backgrounds. The results of the research are particularly relevant both for comprehension of the Italian phenomenon of volunteering in the Waffen-SS and for the reconstruction of the ideological dynamics of the last phase of fascism. The volunteers’ political and ideological system, which can be defined as the Italian SS-fascist ideology, disagrees strongly with the vaguely described ideological profile offered by previous studies that describe volunteers as generically “super-fascist”. The research also offers the opportunity for a deeper understanding of the final fascist ideological trajectory, currently defined, not without a certain level of approximation, as the “Germanisation” or “Nazification” of fascist ideology.

The revolution of sound recording, synthesis and transformation (commenced in 1948 with concrete music and in 1950 with electronic music), followed by the birth of computer music (since 1957), caused the natural emergence of a new professional profile – someone who can work in the phase of researching, writing, creating new instruments, recording and/or performing live during concerts. From the early days, laboratories and electronic music studios have involved the presence of different individuals with diverse but intertwined competencies. This is true for the Milan, Cologne, Paris and San Francisco centres during the first analogue generation; this has continued with the digital revolution (at CCRMA in Stanford and other centres in the United States, in France, Italy, Great Britain, Germany, East Asia, to name a few). Although books and essays dedicated to the history of Computer Music do agree, in principle, on the interdisciplinary nature of this music and the importance of collaboration, and the field of music collaboration starts at last being investigated, the existence of the musical assitant has been often unreasonably neglected. In both the musical score and the program notes, or in written sources (a least in the published ones), his/her presence remains hidden most of the time, and literature on the collaboration composer/musical assistant is scattered. In this chapter I report findings from a study based on primary and secondary sources and administrative documents, conserved at three computer music centres: the IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris, the CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University and the CSC (Centro di Sonologia Computazionale) in Padova. The analysis examines two points: 1) institutionalisation and recognition: I would investigate the presence (or absence or understatement, as the case may be) of an express concern for the theme of collaboration and the role of the musical assistant; 2) the presence of passages inside the sources, describing the ways in which this collaboration was undertaken between musical assistants and composers. My study covers the technological historical period which runs from the early computer programs until the first real time experiments. It is intended to enlighen the hidden art-science collaboration, the emergence of a profession, the traces remaining from the habitually wordless communication between a composer and an assistant, in the early era of computer music. It introduces questions about cooperation and the way it could induce dilemmas when considering authorship. The choice of these three centres is motivated by the close historical, musical, organisational, scientific and technological connections, and by the numerous technical, cultural and scientific exchanges between the three.

Towards the end of the decade long Iran–Iraq war, Saddam Hussein launched a deadly attack against the Kurds, known as the Anfal Campaign, killing more than a hundred thousand. One of the largest acts of genocide occurred on 18 March 1988 in the Kurdish city of Halabja. On that day, sweet-smelling poison gas was poured over the city, killing at least five thousand. Since 2001 Kurdish moviemakers have memorialized the tragedy of the Halabja massacre by producing cinematic dramas and narrative documentaries. These films are part of a discourse of authenticity and a politics of culture that permeate the Kurdish independence movement. This essay proposes that Halabja films can be divided into three stages: the era of consolidation, 2000 to 2009; the golden era, 2009 to early 2014; and the fall which followed the fall of Mosul to the Islamic State of Iraq and Syria. Each era reveals new attitudes towards politics, society, and the massacre.

This paper has three overarching aims: to contextualise oral history within larger debates over methods in the social sciences; to highlight the peculiar strengths as well as complexities of oral history as a method; and finally to elucidate some of these methodological issues through insights drawn from analysis of oral histories of two elderly Bengali Muslim women.

A história de um povo contada a partir de sua própria voz, através de sua perspectiva, usando seu tempo e estrutura narrativa tem o poder de cativar o leitor e transportálo para um mundo diferente do dele. Assim, os relatos dos caxinauás, além de revelar traços ricos de sua cultura, língua e pensamento, convidam todos a conhecer o grupo, cuja população total se aproxima de oito mil pessoas, 75% delas em território brasileiro, e ocupa um vasto território na bacia dos rios Juruá e Purus, entre o Brasil e o Peru. HUNI KUIN HIWEPAUNIBUKI ? A HISTÓRIA DOS CAXINAUÁS POR ELES MESMOS é apresentada nas línguas caxinauá, portuguesa e espanhola, conta com vasto material iconográfi co e retrata desde o modo de vida dos antepassados, até como se deu a dispersão do grupo e suas experiências em uma sociedade não indígena. Longe de ser um estudo frio e distante sobre um povo, a obra traz uma voz autêntica da comunidade caxinauá. Muito além do processo de documentação de sua língua e cultura, os relatos caxinauás propiciam um confronto entre diferentes perspectivas, sejam elas as visões analíticas de antropólogos, a curiosidade do leitor não indígena ou a própr ia interpretação dos caxinauás sobre sua noção de mundo.

The central area of research for this thesis concerns the most effective techniques for practitioners developing and delivering facilitated participatory media projects for the internet within an institutional setting.
Through the development and delivery of a web-based, participatory documentary Big Stories, Small Towns, this study explored the complexity of relationships that underlie media participation within public screen institutions such as national broadcasters and screen culture agencies. This involves key principles of trust, power, motivation, access and agency to assist practitioners in managing participatory processes in media practice.
The project’s main public presentation can be viewed online at www.bigstories.com.au.
This exegesis examines a tradition of documentary production underpinned by participatory practices. The exegesis examines methodologies informed by theories of critical practice to discuss the Big Stories project in the context of the wider literature drawn from media studies, communication for development, visual anthropology and cultural studies. The study explores participatory media activity and identifies examples that have influenced the Big Stories project.

We started this journey, confused and overwhelmed by the mountain of a task that we had been set. We knew that the end product would be a fantastically inspiring collection of memoirs, yet we had no idea where to start. Knowing that this project was a one of a kind, with such a unique theme made us want to strive to make everything come together perfectly. However we did not realise how much we would want it to work until we were fully immersed in the project.

Our internal motivation fuelled the basis of the journey, but our absorption into the project was inspired by the amazing women we spoke to. Hearing their stories of courage, strength and motivation made us want to ensure that we did justice to those who fought for the justice of their people. If there was ever a point at which we stalled, we knew that we could not stop. These fantastic women had fought for liberation against all odds with their minds, hearts and souls; who were we to get stressed?

But as imagined, we found ourselves stressed. Each member of the team was either working or studying full time whilst pursuing this. Balancing our timetables was never simple but the common goal brought us together. We wanted to present these women to the world exactly as we saw them; truly inspirational. We wanted them to be recognised for every second of work that they had put in for such a worthy cause.

And finally we wanted to ensure that the work of women in such a momentous period as this was not lost in history. For this we are extremely thankful, these women are the cornerstone of this project and we cannot express enough gratitude.
We are also extremely grateful to Dr Dipak Bush, Dr Naim, Karen Buck MP, Dr Renu Lufta and Feroz Khan for their much valued support. These academics and extremely knowledgeable people played a crucial role in supervising and supporting us on this journey.
Our thanks also go to Ansar Ahmed Ullah for being hugely supportive and taking the time to answer our queries at every given opportunity on the way. We are grateful to Mr. Aziz Toki, Director of CLYD for all his support, in keeping our aspirations and enthusiasm elevated by creating a teamwork environment. We also extend our gratefulness to Ms Louisa Lochner, Head teacher of Gateway Primary school for her support as a partner of this project and to Ms Natalie Young, a history teacher who has helped develop supporting study materials.
Our journey would not have been anywhere as smooth as it has been, without these amazing people and their extensive knowledge
Our volunteers have worked hard throughout this project and have been a true pleasure to work with. We are extremely proud of our team and also extremely thankful for their input, they have really helped this book become a reality.
This book would have been a mere idea without the support and contributions of the aforementioned. This has been a fantastic opportunity for each of us to grow and we are extremely happy with how everything has come together. We are genuinely humbled to see where we are now from the daunting moments at which we started. This has been a truly eye opening journey for each one of us and we hope that it can also enlighten you on a journey of your own.

These voices of utopia, inseparable from the experience of dislocation, are a unique contribution to the literature of testimony. With her cycle Svetlana Alexievich has established herself as the first major postcolonial author of post-Communism: the daughter of a Ukrainian and Belarusian who uses the Russian language – the only language in which she is completely fluent – to collect and present, from her own subaltern perspective, subaltern accounts of the traumas inflicted by empire.

In popular music histories of punk, much has been documented surrounding punk music and the formation of a punk canon. Much of this is focused upon the discussion of its generic development, its politically disruptive nature as a music genre and in the construction of its history, however exclusive that might be (Savage 2002; Ogg 2006; Robb 2006) Within moving image, documentaries such as The Filth and the Fury (Temple, 2000),  The Clash: Westway to the World (Letts, 2000) and The Punk Rock Movie (Letts, 2008) have all contributed to the canonisation of particular bands, performers and artistes within the popular conception of punk history. While the canonical narratives of punk tended to concentrate on popular punk bands such as the Sex Pistols, The Clash, and The Damned for example; we can understand these bands as having their ideological messages commodified through their affiliation with major record labels.
Outside of these major labels and their punk artistes, existed a D.I.Y punk scene known as ‘anarcho-punk’, which was associated with an overt sense of political commitment and authenticity. At the centre of this particular scene was the band Crass, who articulated an anarchic and pacifistic D.I.Y ethic, as a touchstone for an alternative way of living, and used punk music as a vehicle for furthering the anarcho-punk movement’s ideologies. Investigating the ways in which Dutch filmmaker Alexander Oey mediates the story of Crass in his film There Is No Authority But Yourself (Oey, 2006), this article then examines how Oey’s documentary seeks to evaluate and deconstruct established canonical approaches in order to illuminate a wider set of practices at work in the mediation of punk historiography. In doing so Oey’s documentary rewrites the narrative of punk history in a way that takes account of the significance of punk’s underbelly. Within this article I will show that although the Crass documentary may on the surface appear to be generic and non-challenging, with regards to a narrative interspersed with archive material, it considers the re-construction of the past in its grafting of Crass onto the punk narrative timeline. It also considers how current activities of the band members continue to be influenced by their early political principles and the political directives of the anarcho-punk movement.
Alexander Oey’s documentary takes its title from the final lines of the Crass album Yes Sir, I Will (Crass, 1983); ‘You must learn to live with your own conscience, your own morality, your own decision, your own self. You alone can do it. There is no authority but yourself.’ and thus reflected the bands dogmatic belief in one’s personal responsibilities to enable change. In his previous work Alexander Oey, is renowned for documenting stories that challenge some of society’s accepted values and has engendered controversy with his previous films Euro-Islam According To Tariq Ramadan (Oey, 2005), My Life as a Terrorist: The Story of Hans-Joachim Klein (Oey, 2005) and Negotiating With Al-Qaeda? (Oey, 2006) 
Keywords:
anarcho-punk,
Crass
punk
canon
documentary
punk cinema

Mindanao is the Philippine's second largest island in the south. Identifying Mindanao-based documentaries that have development themes remain unknown or unacknowledged. Using Phenomenology as theoretical framework and method, as a result, the researcher found out that similar to other documentary films in other parts of the country and the world, the themes showed by Mindanao-based documentaries reflect  in agriculture, health, women and children, environment and population.
However unlike its other foreign and local counterparts, a number of Mindanao-based documentaries anchor the mentioned development themes under the context of peace and conflict situation, human rights, indigenous peoples and their ancestral domains.

The urban bench has been romanticised as a location of intimacy and benign social serendipity, and problematised with regard to perceptions of unwelcome loitering. In this paper we explore embodied practices of sitting on benches within an urban context characterised by corporate-led regeneration and impacted by austerity urbanism, imperial history and ongoing racisms. Our schizocartographic methodology enables us to attend to the differentiated and shifting subjectivities and temporalities of bench users, and to emerging counter histories of space. The research is based on the case study of a central square in Woolwich, southeast London. This involved an eclectic combination of methods, including film-making, ethnography and interviews, and a cross-sectoral team of activists, academics and an artist. The paper starts by conceptualising public space with respect to lived experiences of marginalisation, arguing that architectural design is intrinsic to understanding micro-geographies of conviviality and care. The case study material is used first to provide a visual sketch of sitting and watching others in the square and then to address conviviality and the value of visibility and relative proximity in framing a mostly un-panicked multiculture. Third, we discuss agentic, yet critically aware, acts of self-care. Finally, our focus shifts to the design of the benches and the 'touching experiences' of bodies sat in various ways, impacted by structural inequalities, yet differentiated by the particularities of individual or collective priorities. In conclusion we argue that attending to the precision of sitting on a bench can illuminate multiple temporalities of urban change in relation to both individual subjectivities and hegemonic structures. Further, the counter histories that emerge can inform policy and practice for inclusive urban design.

By and large, architectural historians use texts, drawings, and photographs to craft their narratives. Oral testimony from those who actually occupy or construct buildings is rarely taken as seriously. Speaking of Buildings offers a rebuttal, theorizing the radical potential of a methodology that has historically been cast as unreliable. Essays by an international group of scholars look at varied topics, from the role of gossip in undermining masculine narratives in architecture to workers' accounts of building with cement in midcentury London to a sound art piece created by oral testimonies from Los Angeles public housing residents. In sum, the authors call for a renewed form of listening to enrich our understanding of what buildings are, what they do, and what they mean to people.

This paper examines the endeavour to identify fundamental characteristics of all documentary work regardless of the form it takes. Each chapter of this paper describes a different step in the evolution of research project to documentary installation work and is chronologically organized to reflect this process. This paper not only sets forth fundamental requirements of a documentary work as supported by various scholarship on a multitude of documentary forms, but also outlines the process of translating the fundamental requirements and relative supporting scholarship into a physical documentary installation work.

Öz:

Sözlü tarih, milletlerin tarih yazımına katkıda bulunan en önemli yöntemlerden biridir. Bu yöntem, bir disiplin olarak ilk defa 1948 yılında Kolombiya Üniversitesi’nde kurumsallaşmaya başlamıştır. Günümüzde tarih, antropoloji, eğitim, halk bilimi, iletişim, mimarlık, müzik, radyo ve televizyon, siyasal bilimler, spor, sosyoloji gibi çeşitli alanlarda bir veri toplama aracı ve öğretim yöntemi olarak kullanılmıştır. Ancak Türkiye’de bu alan, 1990’lı yıllarda Tarih Vakfı’nın girişimleriyle tanınmıştır. Özellikle 2005 yılından sonra çeşitli disiplinlerdeki araştırmalarda kullanımı artış göstermiştir. Bu araştırmanın amacı, sözlü tarihle ilgili dünyada ve Türkiye’de yapılmış çalışmaları, sistematik olarak sunmaktır. Araştırmada doküman incelemesi yöntemi kullanılmıştır. Araştırmada incelenen kaynaklar, Türkçe ve İngilizce dilleriyle sınırlıdır. Araştırma sonuçları, dünyada sözlü tarihle ilgili yapılan çalışmaların çok çeşitli alanları kapsadığını göstermektedir. Bu kapsamda 139 İngilizce kitap ya da kitap bölümü ile 66 makalenin detayları sunulmuştur. Bununla birlikte Türkiye'de sözlü tarihle ilgili yapılmış 100 kitap veya kitap bölümü, 55 makale ve 215 tez çalışmasının künyesine değinilmiştir. Bu olumlu gelişmelere rağmen hâlâ sözlü tarih konusunda detaylı rehber kitaplara ihtiyaç olduğunu söylemek mümkündür.

Anahtar Kelimeler: Sözlü Tarih, Tarih Yazımı, Yerel Tarih, Bibliyografya, Hafıza Çalışmaları

Abstract:
Oral history is one of the most important methods that contribute to the historiography of nations. This method first started to be institutionalized as a discipline at Columbia University in 1948. Nowadays, it has been used as a data collection tool and teaching method in fields such as history, anthropology, education, folklore, communication, architecture, music, radio and television, political sciences, sports and sociology. Oral history began to be recognized with the attempts of the Tarih Vakfı in Turkey in the 1990s. Particularly after 2005, the use of this method has shown a great interest in the researches of different disciplines. The purpose of this research is to present the studies executed in the world and in Turkey regarding oral history systematically. The document analysis method is used in this study. Sources of the research are limited with Turkish and English languages. The results of this research have shown that oral history studies include many various disciplines all around the world. Within this framework, detailed information was given about 139 English books or book chapters and 66 articles. In addition, the imprints of 100 books or book chapters, 55 articles, and 215 dissertations, which were prepared about oral history in Turkey, are mentioned. In spite of these positive developments, it is still possible to say that detailed oral history guidebooks are needed.

Keywords: Oral History, Historiography, Local History, Bibliography, Memory Studies

In the second half of the twentieth century, the introduction of oral history has had a significant impact on the field of Partition Studies in South Asia. The historiography of the cataclysmic event has been thoroughly revised as citizen historians secured interviews of individuals who had witnessed the division of land, recording the experiences and perspective of groups of people who were otherwise hidden from the domain of history. The process of interviewing eye-witness participants for historical reconstruction of the past has helped to document particular aspects of historical experiences which, more often than not, remain absent from other sources, such as official archives, the collective memory of a neighbourhood, and these have resonated with subjectivities of various lived experiences. In compliance with these observations, this paper intends to investigate the interpretive conflict in oral narratives. An oral narrative takes shape in the spatial configuration shared between the interviewee and the interviewer. Leaning on my ongoing fieldwork experience, I would bring into consideration two interviews that I had collected to see how a certain memory is initially suppressed to divert the narrative in a different direction altogether. I will argue that reticence while reminiscing serves an important purpose to acknowledge the trauma of the event. It is of a piece with the historiographical contradiction that the politics of recollection seems to offer space in which a woman’s narration of the events overpowers/overrules the narration of the man. The paper seeks to explore the argument that an oral narrative empowers an individual inasmuch that s/he can be a source as well as a historian.

Sahaflar Çarşısı tarihi üzerine kalem oynatan çoğu müellifin üzerinde amentü gibi birleştiği ortak yazım bulunmaktadır. Bu çalışmanın amacı yerel tarih çalışmalarının aslî özelliği olan “genel tarihin molozlarıyla” yeni bir yazıma gitmektir. Yerel tarih çalışmalarının bir diğer özelliği olan “mekânsal sınırlarda kalabilmek” çalışmamız için geçerlidir Aynı zamanda kentin en işlek ve en kültürel yerlerinden birindeki değişimin nedenleri birçok yerde ve disiplinde aranmadan bulunabilecek durumda değildir. Hülasa tek başına yetersiz kalan mekân unsuru yerel tarihte “insanla” bir araya gelmektedir. Bu nedenle çalışmamızda çarşıya sosyo-kültürel bir mahiyet kazandıran Beyazıt’ın kent yaşamındaki yeri ve gelişimi aktarılarak günümüzdeki durumu verilmiş, ardından sahaflarda eski müelliflerin özlem duyduğu şeyler irdelenerek çarşının kültürel, mekânsal ve sosyal değişimi çeşitli açılardan ele alınmıştır. 
Çalışmamızda yerel tarih sözlü tarihle birleştirilerek değişimin tanıklarınca nasıl yorumlandığı aktarılarak kıyas ve analiz edilecektir. Bu “tanıklı ve insanlı” tarih yazımında, yerel ve sözlü tarih genel tarihle hemhal olacak şekilde verilecektir. Çalışma sürecinde görüşülen isimler İstanbul Sahhaflar Çarşısı Derneği Başkanı Adil Sarmusak, dört kuşak boyunca çarşı eşrafından olan bir ailenin günümüzdeki üyelerinden Türkmen Kitabevi’nin sahibi kitap satıcısı ve yayıncısı Mustafa Türkmenoğlu, çeyrek asır çarşıda bulunmuş günümüz Beyoğlu sahaflarından Halil Bingöl, çarşıya sonradan eklenen dükkânlardan olan Sultan Kitabevi’nde dini kitaplar satan ve çarşı geçmişine haiz bir kişi olan Fuat Sulay ve çarşı girişinde işportacılık yapan Hasan Özkaynak’tır. Çalışma sürecinde kayıt alınan tüm görüşmeler Fatih merkezli Bilim ve Sanat Vakfı’nın (BİSAV) Sözlü Tarih Araştırmaları Veritabanı’nda (www.sozlutarih.org.tr) DSpace üzerinden arşivlenmiştir. Ayrıca Beyazıt civarındaki değişim, üniversitenin çarşıyla olan ilişkileri ve İstanbul sahaflarını konuşmak üzere İstanbul Üniversitesi Edebiyat Fakültesi Bilim Tarihi ABD Başkanı Prof. Dr. Feza Günergun ve İstanbul sahaflarını iyi bilen bir isim olan emekli hekim Şeref Etker’le kayıt alınmayan bir görüşme gerçekleştirilerek sorular yöneltildi. Çalışma sürecinde yerel tarih çalışmalarında yaşanabilecek sorunlara da rast gelindi.

(SPANISH) "Part THREE annex, contains secondary and primary information dealing with documentary research assistance experimental method (For F. Lanchares's director: "impressions form peyote road" and "Words from the edge" documentaries production).
It provides partial fieldwork results, interviews and diaries, on-line key words information research and poems analysis. Significance territory density tables and maps. Exhibition installation and documentary projects."

The present study was aimed to formulate and evaluate fast
dissolving oral films of Zolmitriptan using sodium alginate, xanthan
gum and sodium starch glycolate, guar gum. The suitable plasticizer
and its concentration were selected on the basis of flexibility, tensile
strength and stickiness of the film. The films are prepared by solvent
casting method and characterized by UV, FTIR studies. The films
were evaluated for disintegration time, Folding endurance, Tensile
Strength, Mouth dissolving time, Thickness, content uniformity and
In-vitro dissolution studies. The F5 formulation has given 98.5% drug
release within 6 minutes and has a tensile strength of 1.80 MPa.

The article discusses a wide range of aspects concerning the Holomodor  –  the  Great  Famine  in  the  Soviet  Union  in  the  years  1932–1933.  The  author  focuses  on  examining  the  processes  of  creating  a  collective  image  of  the  Great  Famine  and  the  role  of  individual  memory  of  its  survivors  in  building  this  image.  Analyzing  the  memories  of  the survivors the author deals with distortions and myths which has grown up around the Holomodor. The significance of this disaster for the Ukrainian identity is also the subject of the analysis.

Birth, death and marriage traditionally evoke our most powerful expressions of intimacy and sentiment. Yet for numerous Australian families up to the 1970s, those occasions triggered the opposite sentiments: estrangement, conflict and hostility, which sometimes endured beyond the grave. The cause: ‘mixed marriage’ between Catholics and Protestants in a pre-multicultural Australia, where religion was still code for a social and political identity that reflected English–Irish tensions derived from colonial days. This article is based on 48 oral histories recorded by Siobhan McHugh for a forthcoming doctoral thesis at the University of Wollongong. The marriages, which range from 1924 to 1983, are recalled by spouses, children and clergy.

[ÖZET] Kültürel coğrafyaların biçim kazanmasında önemi haiz bir faktör olarak göç, bu haliyle salt bedenlerin veya işgücünün hareketliliği anlamına gelmemekte; göçmenlerin hareket güzergâhları boyunca ilerleyen bir doğrultuda, toplumsal belleğin taşınmasında bir anahtar vasıta işlevi göstermektedir. Bu haliyle göç, terkedilen topraklardan yola çıkan geçmişe ilişkin algılanımın ve bu algılanımın ürünlerinin, yerleşilecek toprağa taşınması bağlamında bir kültürel hareketlilik kavrayışını da kapsamında barındırmaktadır. Göçlerin yoğun olarak yaşandığı Balkan toprakları, salt belirli bir tarihsel dönemle sınırlı kalmaksızın, göçlerin farklı boyutlarda, farklı hareket rotalarında ve farklı dinamiklere bağlı olarak görüldüğü bir alan olması ölçüsünce ayrı bir öneme sahiptir. Bu çerçevede değerlendirildiğinde, Pomak göçleri de özgün bir geçmiş ve özgün bellek ürünleriyle, böylesi bir coğrafyanın karakteristiğini anlayabilmek adına önemli bir parametre sayılmaktadır. Batı Trakya merkezli Pomak göçlerine bir örnek olarak ele alma gayreti göstereceğimiz Çavuşoğlu Ailesi’nin göç hikâyesi, göçün zorluklarına ilişkin anlatıları içermesinin haricinde; Osmanlı dönemine, Yunanistan devlet politikalarına, Yunan İç Savaşı’na ve 1960 yılı itibarıyla başlayan Türkiye’ye yerleşim sürecine ilişkin hatı-ralar barındırması bakımından da çarpıcı bir sözlü tarih kaynağı oluşturmaktadır. Bu doğrultuda, aile fertleriyle yapılan –kayıt altına alınmış– sözlü görüşmelerden yansıyan anlatılar ve muhtelif dökümanlar, yazınsal bir bütünlük halinde ilgili çalışmamızın içeriğini oluşturacaktır.

Documentary theater possesses a unique ability to respond to issues of pressing political import and social justice, and provides a platform and voice for the dispossessed. At this international symposium and festival, Gener spoke at two panel discussions featuring artistic leaders, artists, and cultural and political experts  from the United States and Europe. He moderated “Documentary Theater: Creative Approaches,” about the research, creative process and staging of documentary plays and their many forms. He spoke about policy and cultural diplomacy in “Documentary Theater: Implications for Policy and Post-Conflict Reconciliation."

La teoría de la probabilidad se usa extensamente diversas áreas para sacar conclusiones sobre la probabilidad discreta de sucesos potenciales y la mecánica subyacente discreta de sistemas complejos, por lo tanto es la rama de las matemáticas que estudia, mide o determina a los experimentos o fenómenos aleatorios.

Muhammed Ali, Amerika Birleşik Devletleri’nin Kentucky eyaletinin Louisville şehrinde 17 Ocak 1942 tarihinde doğmuştur. Ağırlıklı olarak siyahilerin bulunduğu bir bölgede büyüyen Clay, küçük yaşlardan itibaren ırkçılıkla yüzleşmeye başlamıştır. 12 yaşında boksa başlayan Clay, 1960 yılında Roma Olimpiyatları’nda şampiyon olmuştur. Daha sonra 1980 yılına kadar 3 kez dünya ağır sıklet boks şampiyonu olmuştur. 2016 yılında ise Parkinson hastalığı nedeniyle vefat etmiştir. 

Muhammed Ali, Müslüman olduktan sonra Türkiye’de yoğun bir şekilde takip edilmiştir. Uzun yıllar maçları takip edilmiş, mücadelelere ilham kaynağı olmuştur. Ancak bu zamana kadar Muhammed Ali’nin Türk insanı için anlamı ve önemini araştıran çalışmalar yapılmamıştır. Bu eksiklikten hareketle Muhammed Ali’nin Türk insanı için anlamı ve önemini ortaya çıkarmak için 1970-1980 yılları arasında onun maçlarını izlemiş kişilerin tanıklıklarına başvurulmuştur. Çalışmada veri toplamak için dokümanlar ve sözlü tarih görüşmelerinden yararlanılmıştır. Kaynak kişiler, amaçlı örneklem yöntemlerinden ölçüt örneklem yöntemine göre seçilmiştir. Ulaşılan veriler, betimsel analiz yöntemiyle değerlendirilmiştir.

Çalışma sonuçları; Türkiye’de Muhammed Ali maçlarının onun Müslüman oluşunun yanında haksızlıklara karşı olması, Vietnam Savaşı’na gitmeyi reddetmesi, siyah insanlara yönelik ırkçılığa karşı çıkması ve sosyal sorunlara duyarlı olması gibi gerekçelerle takip edildiğini göstermektedir. Bu sonuçlara dayanarak Muhammed Ali’nin Türkiye’de daha uzun yıllar çocuklara örnek gösterilen bir şahsiyet olarak kalacağını söylemek mümkündür.

Muhammad Ali was born in Kentucky, in the United States. Since Clay grows up in a region where most of the black people live, he began to suffer racism from a young age. He started to boxing age at 12 and he became 3 times World Heavyweight Boxing Champion until 1980. In 2016, he was died because of Parkinson disease. 

Muhammad Ali was followed intensely in Turkey after he became a Muslim. For many years his matches have been followed by Turks and his struggles inspired them. Until present, however, no studies have been done to investigate the meaning and significance of Muhammad Ali for the Turkish people. Because of this reason, in order to reveal the meaning and significance of Muhammad Ali for the Turks, people' testimonies who have watched his matches between  1970-1980 were utilized. Since this study is to aim to reveal memories of people that watched Muhammad Ali's matches between 1970 and 1980, a biographical oral history study was carried out. The study's data sources are oral history interviews and literature sources. The source persons were selected according to criterion sample method, one of the purposive sampling methods. The data were evaluated by using descriptive analysis. 

This study’s results show that Muhammad Ali's matches were intensively watched in Turkey because he is a Muslim, also he struggled injustices and segregation against black people, refuse to go to Vietnam War and being sensitive to social problems. Based on these results, it is possible to conclude that Muhammad Ali will remain an example of children for many more years in Turkey.

Pierwszy rozdział Od kroniki do filmu posttraumatycznego - filmy dokumentalne o Zagładzie

Niemieckie materiały dokumentalne na długo określiły wizualną pamięć o polskich Żydach w gettach, zaś radzieckie kadry z wyzwalania Auschwitz-Birkenau stały się symbolem Zagłady. Polscy dokumentaliści korzystali z tych materiałów, aby pokazać różne oblicza ludobójstwa, zbrodnie nazistowskie oraz losy Żydów podczas okupacji. Z czasem przywoływanie materiałów archiwalnych straciło na znaczeniu, a inne tryby dokumentalizmu wysunęły się na pierwszy plan: filmowa praca pamięci (w odpowiedzi na Noc i mgłę Alaina Resnais'ego), świadectwo audiowizualne, dokumenty o powrocie itd. Niniejsza monografia śledzi te zmiany, a także przedstawia polskie filmy na tle szerszego tła międzynarodowego zjawiska filmu o Zagładzie (Holocaust cinema). Aparat pojęciowy obejmuje psychoanalityczną teorię traumy, krytykę genologiczną, studia nad pamięcią oraz estetykę polityczną.

Documentary materials shot during the war by Nazi cameramen came to define the audiovisual memory of Polish Jews in the ghettoes and Auschwitz-Birkenau liberation footage became a powerful symbol of the Holocaust. Polish documentary filmmakers had relied on these materials in order to present various aspects of the genocide, Nazi atrocities, and the fate of Jews under the occupation. Subsequently, quoting of archival footage lost its appeal and other modes of documentary filmmaking prevail: cinematic memory work (in response to Alain Resnais's Night and Fog), audiovisual testimony, documentaries of return etc. The book traces these developments and adopts a comparative perspective showing Polish productions in the context of a larger international phenomenon of Holocaust cinema. The argument combines insights from psychoanalytical trauma theory, generic criticism, memory studies, and political aesthetics.

Projekt został sfinansowany ze środków Narodowego Centrum Nauki przyznanych na podstawie decyzji numer DEC-2012/07/B/HS2/01612

Sözlü tarih, 2005 Sosyal Bilgiler Öğretim Programından öğrenme ve öğretme yöntemi olarak önerildikten sonra eğitim uygulamalarında kullanılmaya başlanmıştır. Bu yöntem, 2005-2017 yılları arasında çeşitli tez, makale, çalıştay ve bilimsel etkinlikte ele alınmıştır. Bu çalışmalarda sözlü tarihin sosyal bilgiler derslerinde özellikle değişim ve sürekliliği algılama becerisini kazandırmak için etkili bir yöntem olduğu vurgulanmıştır. 2017 yılında ise yeni bir sosyal bilgiler öğretim programı yayınlanmış ve sözlü tarih yine önerilen öğretim yöntemlerinden biri olmuştur.

Bu çalışmanın amacı, 2005 ve 2017 Sosyal Bilgiler Eğitim Programlarında sözlü tarih yöntemi kullanarak öğretilebilecek uygun konuları belirlemektir. Çalışmada nitel araştırma yöntemlerinden biri olan doküman analizi (incelemesi) yöntemi kullanılmıştır. Araştırmanın veri toplama kaynakları, 2005 ve 2017 Sosyal Bilgiler Öğretme Programları ve sözlü tarihle ilgili alanyazın çalışmalarıdır. Toplanan veriler betimsel analiz yöntemi kullanılarak değerlendirilmiştir.
Çalışmanın sonuçları, 2017 ve 2005 Sosyal Bilgiler Öğretim Programlarının sözlü tarih potansiyeli bakımından benzer olduğunu göstermektedir. Ayrıca öğrencilere değişim ve sürekliliği kazandırmak için en uygun yöntemlerden biri olan sözlü tarihin 2017 Programında sadece bir kez önerilmesi şaşırtıcı bir sonuçtur.

Abstract:

Having recommended in 2005 Social Studies Teaching Program, oral history method has begun to integrated as learning and teaching method into educational implementations. Various theses, articles, workshops, and scientific events between the years of 2005 and 2017 have addressed the method. The result of these studies have shown that oral history is an effective method to teach students the perception of change and continuity in social studies courses. In 2017, a new social studies teaching program has been published and oral history is still one of the recommended teaching methods in the program. The aim of this study is to determine the proper topics in the 2005 and 2017 Social Studies Teaching Programs that can be taught by using the oral history method.

In the study, documentary analysis method that is one of the qualitative research methods is used. Data collection resources of the study are 2005 and 2017 Social Studies Teaching Programs and literature studies related to the oral history. Collected data are evaluated by using descriptive analysis method. The results of the study show that the 2017 Social Studies Teaching Program and the 2005 Social Studies Teaching Program are similar in terms of the oral history potentials. It is also a surprising result that oral history is directly proposed only once in the 2017 Program.

En este trabajo se explica por qué la Antropología de la Memoria puede ser útil para analizar y entender ciertos aspectos de la cultura de los mayas macehuales del este de la península de Yucatán. Los aspectos en cuestión son: su culto al "Santìisima" o "Cruz Parlante"; su persistente rememoración de "Juan de la Cruz", personaje del siglo XIX que concilia elementos cristianos con elementos propios de la tradición chamánica "amerindia"; por último, el sentido de dos de sus rituales: "el rescate del sacerdote", por un lado, y el "okotbatam", por el otro.