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    New Social Movements in Historical Perspective
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    As the great upsurge of collective action that punctuated the political life of the advanced industrial nations in the late 1960s and early 1970s began to subside, a paradigm in the social movement literature emerged. Explaining the rise and nature of these and later movements as the product of the structural conditions of society, the social movement theorists argue that contemporary movements represent fundamentally forms of collective action, with goals, values, and constituents.' This paper takes issue with these claims of historical uniqueness in social movements by analyzing three cases: the Chartist movement in nineteenth-century England, the Oneida community of antebellum United States, and the West German peace movements in the post-World War II period. We will not argue that the values held by the new social movements are identical to those of the Chartists, Oneida community, and West German peace movements of the 1950s, 1970s, and 1980s, but instead that many of the supposedly characteristics can be found in past movements in a variety of historical epochs and geographical settings. We argue that social movement theorists fail to consider how-or indeed whether--new social movements differ from old ones and that their structural model of explanation is an insufficient framework for the analysis of social movements generally. If a particular, historically specific set of institutional arrangements like postindustrial society or the welfare state is responsible for generating social movements, then why do we find such new characteristics in old movements? If our particular cases as well as those of social movements are products of their particular historical circumstances, then what need is there to understand the dynamics and development of social movements as a category? Examination of the political context, in addition to the structural context, in which these movements develop is necessary to adequately explain the incidence and characteristics of social movements. When such factors are taken into account, it is not surprising that social movements in different eras and under different socioeconomic structures share similar
    Research Article| September 01 1990 History in Perspective, Perspective in History: A Commentary on L'Origine de la perspective by Hubert Damisch Dana Polan Dana Polan Search for other works by this author on: This Site Google Camera Obscura (1990) 8 (3 (24)): 88–97. https://doi.org/10.1215/02705346-8-3_24-88 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Dana Polan; History in Perspective, Perspective in History: A Commentary on L'Origine de la perspective by Hubert Damisch. Camera Obscura 1 September 1990; 8 (3 (24)): 88–97. doi: https://doi.org/10.1215/02705346-8-3_24-88 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsCamera Obscura Search Advanced Search The text of this article is only available as a PDF. Copyright © 1991 by The Johns Hopkins University Press1990 Article PDF first page preview Close Modal You do not currently have access to this content.
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    I. EXTERIOR PERSPECTIVE. 1. Introduction. 2. The Perspective Setup. 3. Drawing the Perspective. 4. Basic Perspective Techniques. II. INTERIOR PERSPECTIVE. 5. Designing the Perspective Setup. 6. Drawing the Perspective by the Perspective Plan Method. 7. Drawing the Perspective by the Grid Method. 8. Modified Visual Ray Technique. III. ARCHITECTURAL SHADES AND SHADOWS. 9. Oblique Shades and Shadows. 10. Multi-view Shades and Shadows. IV. LAB EXERCISES.
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    The following way of viewing triangles triply in perspective is of interest. Two triangles ABC and PQR are said to be “in perspective” if the joins of corresponding vertices be concurrent . Thus if U be the point of concurrency we have the following collineations:— 2. Triangles doubly in perspective are also triply in perspective. Let the two triangles ABC and PQR be doubly in perspective, the two centres of perspective being U and V.
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    This chapter contains sections titled: What is Perspective Taking? Why is Perspective Taking Important at Work? Overview of Model of the Outcomes of Perspective Taking Intra-Individual Outcomes for the Perspective Taker Interpersonal and Dyadic Outcomes Higher-Level Outcomes and Enduring Capabilities Potential Negative Outcomes How Might Perspective Taking be Enhanced at Work? What Inhibits or Derails Perspective Taking? Enhancing Active Perspective Taking Enhancing Perspective-Taking Effectiveness Discussion Conclusion Acknowledgment References
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    Concepts equipment for exercises eye-level convergence and vanishing points perspective of basic forms perspective of repeated forms people and other biological subjects buildings reflections shadows architect's perspective perspective illusions aerial perspective.
    Vanishing point
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    In this paper we investigate a new problem of identifying the perspective from which a document is written. By perspective we mean a point of view, for example, from the perspective of Democrats or Republicans. Can computers learn to identify the perspective of a document? Not every sentence is written strongly from a perspective. Can computers learn to identify which sentences strongly convey a particular perspective? We develop statistical models to capture how perspectives are expressed at the document and sentence levels, and evaluate the proposed models on articles about the Israeli-Palestinian conflict. The results show that the proposed models successfully learn how perspectives are reflected in word usage and can identify the perspective of a document with high accuracy.
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    Бұл зерттеужұмысындaКaно моделітурaлы жәнеоғaн қaтыстытолықмәліметберілгенжәнеуниверситетстуденттерінебaғыттaлғaн қолдaнбaлы (кейстік)зерттеужүргізілген.АхметЯссaуи университетініңстуденттеріүшін Кaно моделіқолдaнылғaн, олaрдың жоғaры білімберусaпaсынa қоятынмaңыздытaлaптaры, яғнисaпaлық қaжеттіліктері,олaрдың мaңыздылығытурaлы жәнесaпaлық қaжеттіліктерінеқaтыстыөз университетінқaлaй бaғaлaйтындығытурaлы сұрaқтaр қойылғaн. Осы зерттеудіңмaқсaты АхметЯсaуи университетіндетуризмменеджментіжәнеқaржы бaкaлaвриaт бaғдaрлaмaлaрыныңсaпaсынa қaтыстыстуденттердіңқaжеттіліктерінaнықтaу, студенттердіңқaнaғaттaну, қaнaғaттaнбaу дәрежелерінбелгілеу,білімберусaпaсын aнықтaу мен жетілдіружолдaрын тaлдaу болыптaбылaды. Осы мaқсaтқaжетуүшін, ең aлдыменКaно сaуaлнaмaсы түзіліп,116 студенткеқолдaнылдыжәнебілімберугежәнеоның сaпaсынa қaтыстыстуденттердіңтaлaптaры мен қaжеттіліктерітоптықжұмыстaрaрқылыaнықтaлды. Екіншіден,бұл aнықтaлғaн тaлaптaр мен қaжеттіліктерКaно бaғaлaу кестесіменжіктелді.Осылaйшa, сaпa тaлaптaры төрт сaнaтқa бөлінді:болуытиіс, бір өлшемді,тaртымдыжәнебейтaрaп.Соңындa,қaнaғaттaну мен қaнaғaттaнбaудың мәндеріесептелдіжәнестуденттердіңқaнaғaттaну мен қaнaғaттaнбaу деңгейлерінжоғaрылaту мен төмендетудеосытaлaптaр мен қaжеттіліктердіңрөліaйқын aнықтaлды.Түйінсөздер:сaпa, сaпaлық қaжеттіліктер,білімберусaпaсы, Кaно моделі.
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    The nationally-recognized Susquehanna Chorale will delight audiences of all ages with a diverse mix of classic and contemporary pieces. The ChoraleAƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚¢AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚€AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚™s performances have been described as AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚¢AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚€AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚œemotionally unfiltered, honest music making, successful in their aim to make the audience feel, to be moved, to be part of the performance - and all this while working at an extremely high musical level.AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚¢AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚€AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚ƒAƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚ƒAƒÂƒA‚‚AƒÂ‚A‚‚AƒÂƒA‚ƒAƒÂ‚A‚‚AƒÂƒA‚‚AƒÂ‚A‚ Experience choral singing that will take you to new heights!
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    This chapter contains sections titled: Measurement of Time Perspective Time Perspective Profiles and Findings from Time Perspective Research Balanced Time Perspective Time Perspective and Well-Being Critiques and Future Research Directions Applications of Time Perspective Conclusion
    Time Perspective
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