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However, in 1917 he changed over to a highly purist Turki, in which he even explained some words in footnotes. The aim of Fitrat's Chigʻatoy gurungi was the creation of a unified Turkish language on the basis of Chagataian language and literature, which was to be achieved by the distribution of the classic works of Navoiy and others and the purification from foreign influences (from Arabic, Persian and Russian) on Turki.In an article titled Tilimiz ("Our language") of 1919 Fitrat called the Uzbek language the "unhappiest language of the world". He defined its protection from external influence and the improvement of its reputation as additional goals to his target of purifying the literary language.In these days, Fitrat denied that Persian was one of Central Asia's native languages.
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Assuming that the entire population of the region was Turkic notwithstanding the language they actually used in their everyday life was part of his Chagatayist body of thought. According to reports, as minister of education Fitrat forbade the use of Tajik in his office. Literature about Fitrat suggests that a reason for his radical change from Persian to a Turkic language lies in the fact that the Jadid movement linked the Persian tongue to repressive regimes like the one of the Bukharan emir, while Turkic languages were identified with Muslim, that is Tatar and Ottoman, reformism.In Bedil (1923), a bilingual work with passages in Persian and Turkic, Fitrat presents an Uzbek tongue influencesd by the Ottoman language as a counterpart to the traditional Persian poetic language, and therefore as a language suited for modernization.
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His partial return to Tajik during the 1920s can, according to Borjian, be ascribed to the end of Jadidism and the beginning of the suppression of Turkish nationalisms. Tajik national identity emerged later than was the case with Central Asia's Turks. Therefore, the creation of the Tajik SSR in 1929, out of the Tajik ASSR which had been a part of the Uzbek SSR, "may" (Borjian) have motivated Fitrat to return to writing in Tajik.
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In Khalid's perception this step was a kind of exile and an attempt to disprove the allegations of Pan-Turkism. Fitrat himself named the promotion of Tajik drama as the motive.In Fitrat's time, the Arabic alphabet was predominant, not only as the script of Arabic language texts, but also for texts in Persian and in Ottoman Turkish. After 1923, in Turkestan a reformed Arabic alphabet with better identification of vowels came into use; however, it still could not accommodate the variety of vowels in the Turkic languages.
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Fitrat "obviously" (William Fierman) did not interpret the Arabic alphabet as holy or as an important part of Islam: Already in 1921 during a congress in Tashkent, he argued in favour of abolishing all forms of the Arabic letters apart from the initial form. This would have made possible easier teaching, learning and printing of texts.
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Furthermore, he wanted to abolish all letters which in Uzbek did not represent their own sound (for example the ث, Ṯāʾ). In the end, Fitrat's proposal of a fully phonetic orthography which also applied to Arabic loanwords was accepted. Diacritical signs for vowels were introduced and the "foreign" letters were discontinued, but the up to four forms of each letter (for example, ﻍ، ﻏ، ﻐ، ﻎ) survived.
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For Fitrat, the differentiation between "hard" and "soft" sounds was the "soul" of Turkish dialects. The demand to harmonize the orthography of foreign words according to the rules of vowel harmony was implemented in Bukhara and the ASSR Turkestan in 1923, even though many dialects did not know this differentiation. Until 1929, the alphabets of the Central Asian Turkic languages were Latinized. Fitrat was a member of the Committee for the new Latin alphabet in Uzbekistan and had significant impact on the latinization of Tajik, whose Latin script he wanted to harmonize as much as possible with the Uzbek one. Cyrillic scripts - as usual in Russian - were implemented for Uzbek and Tajik only after Fitrat's death.
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In Fitrat's oeuvre a series of nonfiction and educational publications can be found: Rohbari najot ("The leader towards deliverance", 1916), for example, is an ethical treatise supporting the jadidist reforms with citations from the Quran. Another of his books deals with the topics of correct Islamic householding, the parenting of children and the duties of husband and wife. The work also argues against Polygyny. He also wrote on the history of Islam, the grammar of the Tajik language and music.In the anthologies Eng eski turkiy adabiyot namunalari ("Examples from the oldest Turkic literature", 1927) and Oʻzbek adabiyoti namunalari ("Examples of Uzbek literature", 1928), which were directed at more advanced students, Fitrat strongly diverged from the Communist line on nationality politics by denying a strict segregation between "pure Uzbek" literature and Central Asian literature in general.
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The article Eski maktablarni nima qilish kerak? ("What should we do about the old schools?
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", 1927) brought him the attention of the GPU. He was classified as a friend of the Basmachi movement, which he however opposed. Other noteworthy nonfiction publications are Adabiyot qoidalari ("Theory of literature", 1926) and Fors shoiri Umar Hayyom ("The Persian poet Omar Khayyam", 1929).Fitrat's scholarly interest in Music particularly applied to shashmaqam.
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In 1923 Fitrat entrusted Viktor Uspensky to record the entire Bukharan shashmaqam, but without the original texts which, to the greatest extent, were in Persian. This way, Fitrat tried to turkify the Bukharan shashmaqam or to present the heritage of Bukharan civilization as something Chagatai. A version of the Bukharan shashmaqam written by the composer Yunus Rajabiy in 1930 by order of Fitrat was based on Uzbek poetry and became popular more than thirty years later.
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Oʻzbek klassik musiqasi va uning tarixi ("Uzbek classical music and its history", 1927) fabricated the basis of a national musicology. His objective was to put the Uzbek national music into a context of ancient Turkic roots and to translate the common Central Asian musical heritage coined by Islamic, Arabic or Persian culture into a part of Uzbek nationality without mentioning Tajik. According to Alexander Djumaev Oʻzbek klassik musiqasi va uning tarixi is more of a juridical document, which created and consolidated a national cultural identity, than it is a scientific source.
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Fitrat was influenced by classical poetry during his first creative phase in a way similar to Sadriddin Ayni. He wrote poems in Persian language from his adolescence, first on religious subjects, later for pedagogic reasons and in Turki. Some of the traditional metres he used were Mathnawi and Ghazal.In Shaytonning tangriga isyoni ("Satan's rebellion against God", 1924), Fitrat was one of the first Turki poets to use Turkic suffixes for tail rhymes, along the usual internal rhymes. In 1918, Fitrat introduced the critique of the Perso-Arabic system of prosody called aruz from Istanbul to Central Asia and demanded, together with others, the provision for Turkic metrics in Turkic poetry and the use of the meter called barmoq.
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Allworth recognizes four different types of dialogue and drama in Fitrat's work: Discussions with strangers (1911-1913, for example in Munozara and Bayonoti sayyohi hindi), counseling with heroes from the past (1915-1919, Muqaddas qon and Temurning sogʻonasi), allegorical dialogue (1920-1924, for example in Qiyomat and Shaytonning tangriga isyoni), and dialectic (1926-1934, in Toʻlqin). Bedil unites elements of "allegorical dialogue" and the discussion with strangers.In his dramatic work, Fitrat often uses the passive voice as genus verbi. Using this technique, he avoided having to name protagonists. According to Allworth, this and the use of homonyms created an effect of mystification which related to Allah having exclusive knowledge of all motives and deeds.
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The dispute (a genre called munozara, "discussion", in Uzbek) is a traditional, Islamic genre of literature that was present both in prose and in verse and which can be seen as the genre preceding theatre in Central Asia. The form Fitrat chose in Munozara, in which the side the author takes is evident, was less valued in classic poetry. Like drama or short story, the classic Turko-Persian literature did not know the genre of dialogue. Illiterate bystanders sometimes mistook performances for reality.In Munozara, Fitrat contrasted a progressive European with an arrogant madrasah teacher from Bukhara.
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The European argues factually and in an instructional manner and is superior to the teacher even in the area of Islamic studies. Finally, the mudarris is convinced and recognizes the "new method" as supreme. However, it is not shown how this conversion came to be.
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Since the classic Turko-Persian literature does not know real conflict, but only discourse between master and disciple, the conversation stays calm, even though the teacher sometimes shows his anger. In order to further reinforce his message, Fitrat added an epilogue to the dialogue in which he demanded reforms from the emir - many other "reform dialogues" did not have such an epilogue. Fitrat's method of having criticism of Bukharan society come from "outside", from a European and in neutral India, was one of the few accepted possibilities. He used a similar method in Bayonoti sayyohi hindi, in which an Indian tourist recalls his experiences in Bukhara. Stylistically, the work is strongly resemblant of the first Iranian novelist Zayn al-Abedin Maraghei.
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In 1983, still before Fitrat's reinterpretation during perestroika, Ahmad Aliev recognized an "unconventional complexity" in Fitrat's dramatic work.According to Edward A. Allworth Fitrat's dramas from the years between 1922 and 1924 - especially Qiyomat, Bedil and Shaytonning tangriga isyoni - are marked by subtleties and intended ambiguities. The reason for this can found in the political and social circumstances in which these works were written. Through his choice of words, Fitrat made his subversive messages accessible only to those privy to contemporary Central Asian literature, while his anger found the form of indirect, entertaining criticism. Zulkhumor Mirzaeva (Alisher Navoiy University for Uzbek language and literature) argued that in these works the Soviet censorship was deceived by an allegedly antireligious essence and that sociopolitical ideas were communicated that way.
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While Fitrat was canonized as a master of atheist esthetics he actually conveyed other meanings simultaneously. As per Mirzaeva it was only during Uzbekistan's independence that, starting with Ninel Vladimirova, a new interpretation of these works arose.
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According to this reinterpretation, Fitrat displayed the ignorance and russification of his time by critique and ridicule. According to Mirzaeva's own analyses, Fitrat smuggled his "fight for national liberation in an atheistic shell".Shaytonning tangriga isyoni is sometimes described as short drama, sometimes as epic poem (dastan). According to Allworth, Fitrat's polemic against Stalinism is packed up in an allegorical dialogue between angels and the devil. He interprets the use of the term Shaitan (instead of Iblis or Azazel) for the devil as an example for the allegorical nature; the term is phonetically close to the name Stalin and was in fact used in Central Asia to invoke Joseph Stalin. Adeeb Khalid, however, disagrees and argues for reading the actual text and less "between the lines".The historical drama Abulfayzxon ("Abulfaiz Khan", last ruler of the Bukharan Janid dynasty of the Uzbek Khanate, 1924) draws parallels between historical and contemporary upheaval and absolutisms in Bukhara and is held as first Uzbek tragedy.
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Like Abdulla Qodiriy and Gʻafur Gʻulom, Fitrat increasingly used satiric concepts in his stories from the 1920s onwards. Only a few years earlier, prose had started gaining ground in Central Asia; by including satirical elements, reformers like Fitrat succeeded in winning over the audience. These short stories were used in alphabetization campaigns, where traditional characters and mindsets were presented in a new, socially and politically relevant context. In order to stay similar to the structure of traditional anecdotes, the writers refrained from direct agitation within the narration.
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Instead, they often added didactic epilogues where tradition would have demanded the summarized joke. After 1920, the "victims" of Fitrat's satire, besides mistaken ideologues and cumbersome bureaucrats, also included the Soviet rulers.Similarities to Nasreddin stories can be found in several of Fitrat's texts, for example in Munozara, Qiyomat and Oq mozor ("The white Tomb", 1928), even though the actual Nasreddin figure is missing in the last text. In works like Qiyomat, Fitrat mixed traditionally fantastical elements with parts of fairy tales, historical or contemporary notions.
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According to Sigrid Kleinmichel, the confrontation of Pochamir (the protagonist of Qiyomat, an opium smoker like Nasreddin( with the Last Judgment in a fever dream can be seen as a reference to Karl Marx' words of the opium of the people. Qiyomat was first reworked in 1935, which led to the loss of contemporary references; Fitrat transferred the story into the time of Tsarist rule. In the Soviet versions, the focus of the story is no longer on the colonial oppression of the Tsarist era and the satiric presentation of life in the Soviet Union, but on the criticism of religion. Due to its "atheism", the Communists later translated the text into several languages, even though the satire originally was directed at Communist dogmas. Allworth sees a special humour and sense of wordplay in Qiyomat.
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In Shaytonning tangriga isyoni, Fitrat portrays Shaitan, the devil, similar to the character known from the Quran and dīwān literature. However, Fitrat expands the plot into a "justified resistance" against the despot Allah. The quranic figures Zaynab bint Jahsh, a wife of Mohammed, and Zayd ibn Harithah are central to Zayid va Aynab ("Zaid and Zainab", 1928).
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Yet, Fitrat's focus in this text is not on the question of adoption in Islam, but on the prophet's sexuality and the selfishness of Mohammed's prophecy. The angels Harut and Marut are important to Zahraning imoni ("Zahra's belief", 1928). Both Meʼroj ("Mi'raj", 1928) and Rohbari najot are densely peppered with citations from the Quran. In Qiyomat, Pochamir encounters Munkar and Nakir, but the numerous references to the Quran and the irreverence directed at Allah were only added under Soviet rule.In Bedil, Fitrat cites the Indo-Persian Sufi and poet Bedil, but even though the subject of the text is religious he abstains from exclamations like In schā'a llāh and the Basmala.
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Edward A. Allworth: Uzbek Literary Politics. Mouton & Co., London/Den Haag/Paris 1964. Edward A. Allworth: The Modern Uzbeks. From the Fourteenth Century to the Present.
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A Cultural History. Hoover Institution Press, Stanford 1990. Edward A. Allworth: The Preoccupations of ʿAbdalrauf Fitrat, Bukharan nonconformist.
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An analysis and list of his writings. Das Arab. Buch, Berlin 2000.
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Edward A. Allworth: Evading Reality. The Devices of ʿAbdalrauf Fitrat, modern Central Asian reformist. Brill, Leiden/Boston/Köln 2002.
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Habib Borjian: Feṭrat, ʿAbd-al-Raʾūf Boḵārī. In: Encyclopædia Iranica; vol. 9: Ethé–Fish.
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Routledge, London/New York 1999, p. 564–567. Hélène Carrère d’Encausse: Fiṭrat, ʿAbd al-Raʾūf.
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In: The Encyclopaedia of Islam. New Edition; Vol.
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2: C–G. Brill, Leiden 1965, p.
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932. William Fierman: Language Planning and National Development. The Uzbek Experience.
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Mouton de Gruyter, Berlin/New York 1991. Halim Kara: Reclaiming National Literary Heritage: The Rehabilitation of Abdurauf Fitrat and Abdulhamid Sulaymon Cholpan in Uzbekistan. In: Europe-Asia Studies, vol.
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54, No. 1, 2002, p. 123–142. Adeeb Khalid: The Politics of Muslim Cultural Reform: Jadidism in Central Asia.
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University of California Press, Berkeley CA. 1998. Adeeb Khalid: Making Uzbekistan: Nation, Empire, and Revolution in the Early USSR.
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Cornell University Press, Ithaca/London 2015, ISBN 978-0-8014-5409-7. Sigrid Kleinmichel: Aufbruch aus orientalischen Dichtungstraditionen. Studien zur usbekischen Dramatik und Prosa zwischen 1910 und 1934.
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Akadémiai Kiadó, Budapest 1993. Sigrid Kleinmichel: The Uzbek short story writer Fiṭrat's adaption of religious traditions. In: Glenda Abramson, Hilary Kilpatrick (ed.
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): Religious Perspectives in Modern Muslim and Jewish Literatures. Routledge, New York 2006. Charles Kurzman: Modernist Islam, 1840–1940. A sourcebook. Oxford University Press, New York 2002.
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The Bijapur Collection refers to an assemblage of manuscripts held primarily in the India Office collections at the British Library. The manuscripts, in Arabic and Persian, were originally part of the Adil Shahi royal library with many carrying seals of the Adil Shahi rulers. At some point in their history, the manuscripts were removed to the Assur Mahal (اشرمحل). The building was home to a college and theological school founded by Mohammed Adil Shah, Sultan of Bijapur, to house a relic of the Prophet.
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In 1848, Bijapur was annexed by the British and the library and institution were found to have no funds for their support. The scholar Charles d'Ochoa visited between 1841 and 1843, and arranged the manuscripts, separating "those preserved from the those utterly destroyed." Items in the Marathi language collected by Ch.
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d'Ochoa in the Deccan are held in the BnF. Subsequently Henry Bartle Frere, the commissioner of the area, had a catalogue of the Bijapur collection prepared in Urdu by Hamīd al-din Ḥakīm, and that was translated into English by Erskine. Following an examination of the catalogue by one John Wilson, assisted by local scholars, it was decided that the whole collection should be sent to the Court of Directors of the East India Company in London.
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The manuscripts were dispatched in 1853. Other parts of the Bijapur library went separate ways and are in the Raza Library, Rampur, the Salar Jung Museum, Hyderabad, the Bibliothèque nationale de France, St. Petersburg, the Museum of Islamic Art, Doha, and the University of St Andrews Library. The India office parts were catalogued, with other Arabic manuscripts from India, by Otto Loth (1844–1881) and published in 1877. After a considerable hiatus, Qureshi provided a summary of the collection in 1980, but no in-depth analysis undertaken until 2016 when Overton examined some of the notations, seals and bindings.
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Academic buoyancy is a type of resilience relating specifically to academic attainment. It is defined as 'the ability of students to successfully deal with academic setbacks and challenges that are ‘typical of the ordinary course of school life (e.g. poor grades, competing deadlines, exam pressure, difficult schoolwork)'. It is, therefore, related to traditional definitions of resilience but allows a narrower focus in order to target interventions more precisely. The academic buoyancy model was first proposed by psychologists Andrew Martin and Herbert W. Marsh, following the identification of significant differences between classic resilience (the ability to thrive despite the experience of severe adversity) and the day-to-day setbacks experienced by students. It has been recently extended and adapted through the work and writings of British psychologist Marc SmithMore specifically academic buoyancy is defined as ‘the process of dealing with isolated poor grades and patches of poor performance, typical stress levels and daily pressures, threats to confidence due to poor grades, low-level stress and confidence, dips in motivation and engagement and the way in which learners deal with negative feedback on schoolwork'.
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The model of academic buoyancy assumes that academic attainment is, in part, related to the ability to cope with school-based demands and to bounce back when setbacks are encountered. Smith likens the differences between resilience and academic buoyancy to those of major stressors and daily hassles. To this end, certain personal attributes have been found to be present in those students who are more likely to flourish in educational environments. These attributes (or predictors of academic buoyancy) are referred to as the 5Cs.
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The 5Cs Martin and Marsh identified five predictors of academic buoyancy, referred to as the 5Cs, consisting of: 1. Confidence (self-efficacy)The belief in our ability to complete a given task. 5C confidence is task specific.
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2. Coordination (planning)The ability to set and pursue goals, plan, monitor and manage tasks within a specific timeframe (e.g. meeting deadlines and allocating study time to competing tasks).
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3. Control (low uncertain control)The extent to which people feel they are in control of the own learning, including the manner in which they attribute the causes of success and failure. 4.
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Composure (low anxiety)The extent to which people can remain relatively calm in potentially anxiety provoking situation (e.g examination environments). Students prone to high levels of anxiety have been found to perform poorly in high stakes exams and to have increased difficulty in coping with setbacks. 5. Commitment (persistence or conscientiousness)The ability to stay on task, resist distractions, act on feedback and recover from setbacks.
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The positive outcomes of academic buoyancy are linked to the 5Cs. Commitment is synonymous with Big Five conscientiousness (a personality trait), as well as newer constructs such as grit. Studies consistently find that conscientious students have a higher Grade Point Average (GPA).Duckworth’s studies have also discovered that grit is a trait found in a number of highly effective people, including West Point candidates and skilled spelling bee participants. Composure is a factor related to anxiety and the ability to regulate emotional reactions (trait neuroticism-emotional stability).
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Smith has been critical of current resilience interventions in schools, citing reviews that found methodological and practical flaws.Dray et al. found that resilience interventions are relatively messy, with mixed results, varying techniques, competing definitions and little in the way of defined outcomes.Leppin et al. had previously found a similar pattern of mixed results, along with a distinct lack of any agreed theoretical framework.Smith has proposed that schools move away from the traditional view of resilience and adopt a view that is focussed wholly on academic buoyancy.
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Professor Angie Hart of the University of Brighton, UK, has stated that an academic buoyancy approach can never do as much for children as ‘a resilience perspective that addresses systems, and issues of social justice, will do.’ Hart addresses the importance of systems and structures as well as the building of ‘character’ and ‘grit’. In response to these criticisms, Smith stresses that there is no reason why buoyancy interventions can not be used in unison or in parallel with those aimed at increasing wellbeing and reducing inequalities, leading Smith to propose the addition of a 6th C - Community. == References ==
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Media psychology is the branch and specialty field in psychology that focuses on the interaction of human behavior with media and technology. Media psychology is not limited to mass media or media content; it includes all forms of mediated communication and media technology-related behaviors, such as the use, design, impact, and sharing behaviors. This branch is a relatively new field of study because of advancement in technology. It uses various methods of critical analysis and investigation to develop a working model of a user's perception of media experience.
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These methods are used for society as a whole and on an individual basis. Media psychologists are able to perform activities that include consulting, design, and production in various media like television, video games, films, and news broadcasting. Media psychologists are not considered to be those who are featured in media (such as counselors-psychotherapists, clinicians, etc.), rather than those who research, work or contribute to the field.
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There are overlaps with numerous fields, such as media studies, communication science, anthropology, education, and sociology, not to mention those within the discipline of psychology itself. Much of the research that would be considered as ‘media psychology’ has come from other fields, both academic and applied. In the 1920s, marketing, advertising and public relations professionals began conducting research on consumer behavior and motivation for commercial applications.
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The use of mass media during World War II, created a surge of academic interest in mass media messaging and resulted in the creation of a new field, communication science (Lazarsfeld & Merton, 2000). The field of media psychology gained prominence in the 1950s when television was becoming popular in American households. Psychologists responded to widespread social concerns about the children and their television viewing.
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For example, researchers began to study the impact of television viewing on children's reading skills. Later, they began to study the impact of violent television viewing on children's behavior, for example, if they were likely to exhibit anti-social behavior or to copy the violent behaviors that they were seeing. These events led up to the creation of a new division of the American Psychological Association in 1987.
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Division 46, the Media Psychology Division (now the APA Society for Media Psychology and Technology), is one of the fastest growing in the American Psychological Association. Today's media psychologists study both legacy and new media forms that have risen in recent years such as cellular phone technology, the internet, and new genres of television. Media psychologists are also involved in how people are impacted and can benefit from the design of technologies such as augmented reality (AR) and virtual reality (VR) and mobile technologies, such as using VR to help trauma victims.
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Media psychology's theories include the user's perception, cognition, and humanistic components in regards to their experience to their surroundings. Media psychologists also draw upon developmental and narrative psychologies and emerging findings from neuroscience. The theories and research in psychology are used as the backbone of media psychology and guide the discipline itself. Theories in psychology applied to media include multiple dimensions, i.e., text, pictures, symbols, video and sound. Sensory Psychology, semiotics and semantics for visual and language communication, social cognition and neuroscience are among the areas addressed in the study of this area of media psychology. A few of the theories employed in media psychology include:
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The concept of affective disposition theory is used to differentiate users' perspectives on different forms of media content and the differences within attentional focus. The theory consists of four components that revolve around emotion: (1) media is based on an individual's emotions and opinions towards characters, (2) media content is driven from enjoyment and appreciation from individuals, (3) individuals form feelings about characters that are either positive or negative and (4) media relies on conflicts between characters and how individuals react to the conflict.
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Simulation theory argues that mental simulations do not fully exclude the external information that surrounds the user. Rather that the mediated stimuli are reshaped into imagery and memories of the user in order to run the simulation. It explains why the user is able to form these experiences without the use of technology, because it points to the relevance of construction and internal processing.
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The psychological theory of play applies a more general framework to the concept of media entertainment. This idea potentially offers a more conceptual connection that points to presence. The activity of playing exhibits consistent results to the use of entertainment objects.
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This theory states that play is a type of action that is characterized by three major aspects: It is intrinsically motivated and highly attractive. It implies a change in perceived reality, as players construct an additional reality while they are playing. It is frequently repeated.The psychological theory of play is based upon the explanations given by eminent people such as Stephenson, Freud, Piaget, and Vygotsky.
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The theory is based on how an individual uses media for their satisfaction and how media changes within a person's life according to its contents. Play is used for pleasure and is self-contained. People are influenced by media both negatively and positively because we are able to relate to what we see within the environment.
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By looking more in-depth at the different forms of play, it becomes apparent that the early versions of make-believe play demonstrate the child's need for control and the desire to influence their current environment. The theory explains the allure play has to humans in its many forms. In video games, which replicate the feeling, players hold some aspect of responsibility in the actions that they take within the world of the game.
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This can allow players to feel successful and powerful. It replicates the feeling of self-efficiency and proficiency within the video game.
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The experience of defeat is also replicated. In addition to that, in the case of defeat, players are not able to blame their mistakes on anyone but themselves. These all explain some aspects of the pleasure that comes from play.
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Major contributors to media psychology include Marshall McLuhan, Dolf Zillmann, Katz, Blumler and Gurevitch, David Giles, and Bernard Luskin. Marshall McLuhan is a Canadian communication philosopher who was active from the 1930s to the 1970s in the realm of Media Analysis and Technology. He was appointed by the President of the University of Toronto in 1963 to create a new Centre for Culture and Technology to study the psychological and social consequences of technologies and media. McLuhan's famous statement pertaining to media psychology was, "The medium is the message".
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McLuhan's famous statement was suggestive towards the notion that media is inherently dangerous. McLuhan's theory on media called "technological determinism" would pave the way for other people to study media.Dolf Zillmann advanced the two-factor model of emotion. The two-factor of emotion proposed that emotion involves both psychological and cognitive components.
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Zillmann advanced the theory of "Excitation transfer" by establishing the explanation for the effects of violent media. Zillmann's theory proposed the notion that viewer's are physiologically aroused when they watch aggressive scenes. After watching an aggressive scene, an individual will become aggressive due to the arousal from the scene.
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In 1974 Katz, Blumler, and Gurevitch used the uses and gratifications theory to explain media psychology. Katz, Blumler, and Gurevitch discovered five components of the theory; (1) the media competes with sources of satisfaction, (2) goals of mass media can be discovered through data and research, (3) media lies within the audience, (4) an audience is conceived as active, and (5) judgment of mass media should not be expressed until the audience has time to process the media and its content on their own. Katz, Blumler, and Gurevitch found out that audience gratification from the media are rooted in three things, the content of the media, the exposure to it, and the social context that represents different media exposure.
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However, most of all it comes from the desire to kill time in a way that is worthwhile. They also discovered that different forms of media satisfy in different ways; it fulfills different needs.
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For example, certain forms of media are used as an escape, like movies at the cinema, but the news channel may be not.David Giles has been publishing in the area of media psychology since 2000. He wrote a book about media psychology in 2003. His book Media Psychology gives an overview of media psychology as a field, its subcategories, theories, and developmental issues within media psychology.
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Giles started his career as a music journalist, before attending the University of Manchester to study psychology. He then continued his studies at University of Bristol, where he obtained his PhD. Since then, Giles has published numerous books, chapters, articles, and delivered presentations on psychology and the media, with a focus on the influence of celebrities and media figures.
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He has also worked as a professor of psychology at many universities in England, including universities of Bolton, Sheffield Hallam, Coventry and Lancaster. Since 2009 Giles has been working in the position of reader at the University of Winchester.Bernard Luskin is a licensed psychotherapist, with degrees in business and a UCLA doctorate in education, psychology and technology. He is also the founder and CEO of Luskin International.
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Luskin has been the founding president and CEO of many colleges and universities, including: Orange Coast College, Jones International University, Touro University Worldwide, Moorpark College, and Oxnard College. He has also had success as a writer, publishing titles such as Introduction to Economics: A Performance-Based Learning Guide in 1977 and Casting the Net over Global Learning: New Developments in Workforce and Online Psychologies in 2022.
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Pamela Rutledge is the Director of the Media Psychology Research Center in Newport Beach, California, and a faculty member in the Media Psychology Program at Fielding Graduate University. She is well known for the application of media psychology as to marketing and brand strategy, transmedia storytelling and audience engagement. According to Rutledge, while there is no specific consensus or career path for media psychology, there are many opportunities.
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Media psychology involves all the research and applications which deal with all forms of media technologies. The media psychology comprises the prevailing customary and mass media, including radio, television, newsprint, magazines, music, film, and video. It comprises art with new emerging technologies and applications that include social media, mobile media, and interface design.
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media psychology enables us to create a better and new trajectory concerning how people think about, use, and design media technology in medial platforms. It helps provide tools that aid in identifying how technology has facilitated human goals. It also analyzes how the media becomes inadequate and the inadvertent outcomes of performance shifts, which determine better or worse applications.
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The improvement has made media psychology of media studies; enhancement of communication in the people and sociology has enabled the various impact on different emergence of technology in different ways. The media psychology leads to the shift of the general focus from the center of inquiry in the given media-centric to the basic human-centric, leading to the enhancement of communication in the whole sector of media psychology. The use of marketing and public relations has made tremendous help in the whole media psychology analysis whereby customer research and media psychology have given different goals that do not go hand in hand with the other marketing and public relations sectors. The use of technology has enabled the improvement of global connection, limiting traditional activities, which led to the improved advancement of the media sector. The media advancement led to the more beneficial platform, which was possible to pass judgment, produce, and distribute analysis to the required platforms.
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Headland Archaeology Ltd is a wholly owned subsidiary of the RSK Group. Headland provides archaeological services and heritage advice to the construction industry.
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https://en.wikipedia.org/wiki/Headland_Archaeology
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Headland Archaeology Ltd was established in 1996. Headquartered in Edinburgh, this company expanded as a provider of commercial archaeology services in the UK. Expansion into the Irish market led to the establishment of Headland Archaeology (Ireland) Ltd in 2000, in County Cork. Restructuring of the companies in May and June 2008 involved the renaming of Headland Archaeology Ltd as Headland Group Limited.
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https://en.wikipedia.org/wiki/Headland_Archaeology
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A new company, Headland Archaeology (UK) Limited, was founded at this time to give, in conjunction with Headland Archaeology (Ireland) Ltd, a coherent structure to the group based on trading areas. The acquisition of Hereford-based Archaeological Investigations Ltd in 2010 expanded its UK operation. Archaeological Investigations Ltd was subsequently assimilated as a regional office of Headland Archaeology (UK) Limited by October 2010, with the underlying company dissolved in September 2012. The company opened a southeast office in 2011, initially in Leighton Buzzard later moving to Silsoe in Bedfordshire, and a northern office based in Beeston, Leeds in 2015. In December 2011, there was a management buyout of Headland Archaeology (Ireland) Ltd; the Irish company was renamed as Rubicon Heritage Services.The Headland Group was acquired by the RSK Group in March 2019 but continues to trade as Headland Archaeology (UK) Limited.
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By 2001, Headland Archaeology Ltd had become a Registered Archaeological Organisation with the Institute for Archaeologists (reference number RAO40). This registration has been continued and was transferred to Headland Archaeology (UK) Limited during the company re-organisation in 2008. The changing Irish operations of Headland Archaeology never fell within this scheme.
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The following are a selection of projects that the Headland Archaeology companies have been involved with. Note that some of these projects were delivered by Headland Archaeology (Ireland) Ltd which has now left the group.
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UK M74 northern extension to M8, 19th century urban and industrial sites Scottish Parliament, Edinburgh The Newbridge chariot, Edinburgh Verreville Glass and Pottery Works, Glasgow The Inchmarnock Project, monastic settlement, Argyll and Bute Whithorn Priory, a Medieval prioryIreland Carlow Bypass N9/N10 N25 Waterford Bypass N7 Dual Carriageway Nenagh to Limerick
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Dubton Farm, Brechin, Angus. A wood-lined souterrain inside an Iron Age roundhouse. Balblair Cist, Beauly, near Inverness, Bronze Age burial cairn Bewell Street, Hereford Burgh by Sands, Aballava, Hadrian's Wall Roman fort Carrowkeel, N6 road scheme, Ireland. Early Christian and Medieval settlement and cemetery Cowgate, Edinburgh.
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Medieval town wall Doune, Stirling, Roman fort Captain's Cabin, Dunbar, East Lothian, multi-phase settlement Cathedral Close, Hereford Cathedral Gasswater, East Ayrshire, medieval turf building Giles Street, Leith, Edinburgh. Medieval remains Holm, Inverness, Bronze Age cists Grassmarket, Edinburgh Hackness battery, Longhope, Orkney Shanzie Souterrain, Alyth, Perthshire. Iron Age underground structure Straiton Quarry, Newport-on-Tay, Fife.
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Bronze Age cremation burials Park Square Campus, University of Bedfordshire, Luton Perceton, North Ayrshire, Medieval Manor Upper Forth Crossing, Kincardine, Clackmannan. Prehistoric and Medieval remains Queensferry Crossing, Edinburgh and Fife. Mesolithic, Neolithic, Bronze Age, and Medieval remains
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https://en.wikipedia.org/wiki/Headland_Archaeology
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Clonycavan Man, Ireland Geoarchaeological Regional Review of Marine Deposits along the Coastline of Southern England Isle of Bute Master Chronology Newrath, County Kilkenny, multi period wetland site N9/N10 Kilcullen to Waterford scheme, pH analysis of burnt mounds Old Croghan Man, Ireland Ötzi, The Tyrolean Ice man, analysis of his last meal
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https://en.wikipedia.org/wiki/Headland_Archaeology
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Irish Battlefields Project Ewyas Harold Priory, Herefordshire
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https://en.wikipedia.org/wiki/Headland_Archaeology
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The Arnol Blackhouses, Isle of Lewis The Dirleton Radar Station, East Lothian Dunnet, Brotchie's farm steading, Caithness Gasworks, Kilkenny, Ireland. Retort house Kerse House, Grangemouth, country house of Sir Lawrence Dundas Kisimul Castle, Isle of Barra Moirlanich Longhouse, Killin, thatching & vernacular building. Temple Mains Farm, Innerwick, farm steading, East Lothian Waverley Mill, Galashiels
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https://en.wikipedia.org/wiki/Headland_Archaeology
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Madelvic works, Edinburgh Mount Pleasant Pipeworks, Woodville, Derbyshire ROF Rotherwas, Hereford Shrubhill Tram Depot, Edinburgh
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https://en.wikipedia.org/wiki/Headland_Archaeology
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City of Adelaide clipper - laser scan Leamington Wharf, Union Canal, Edinburgh A Zulu Herring Drifter at the Scottish Fisheries Museum - laser scan
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https://en.wikipedia.org/wiki/Headland_Archaeology
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Journal of Insect Behavior is a bimonthly peer-reviewed scientific journal covering various aspects of insect research. It is published by Springer Science+Business Media and was established in 1988. The editors-in-chief are Jeremy Allison (University of Pretoria) and Ring Cardé (University of California).The journal publishes research articles, reviews, and commentaries related to various aspects of the behavior of insects, including behavioral ecology, spiders, and isopods.
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https://en.wikipedia.org/wiki/Journal_of_Insect_Behavior
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The journal is abstracted and indexed in: According to the Journal Citation Reports, the journal has a 2021 impact factor of 1.038.
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https://en.wikipedia.org/wiki/Journal_of_Insect_Behavior
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Overlearning refers to practicing newly acquired skills beyond the point of initial mastery. The term is also often used to refer to the pedagogical theory that this form of practice leads to automaticity or other beneficial consequences.
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https://en.wikipedia.org/wiki/Overlearning
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Memory researcher Hermann Ebbinghaus performed classical overlearning studies in the late 1890s. He noticed that memory for learned material decreased over time (see also forgetting curve). Ebbinghaus recognized that lists of nonsense syllables became more difficult to recall over time, and some lists required more review time to regain 100% recall. He defined overlearning as the number of repetitions of material after which it can be recalled with 100% accuracy.
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https://en.wikipedia.org/wiki/Overlearning
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A 1992 meta-analysis suggested that overlearning does significantly affect recall over time. It also concluded that the size of this effect may be moderated by the amount of overlearning, task type, and length of retention. The meta-analysis included 15 studies. These 15 studies tested overlearning effects on physical and cognitive tasks.
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https://en.wikipedia.org/wiki/Overlearning
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