USB Journals (Univ. Köln)
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Data-based modeling as an implementation to develop statistical literacy: Design and Implementation for Enhancing Statistical Literacy among Upper Secondary School Students
No full textThis paper presents the development and implementation of a process framework for data-based modeling of functional relationships between two numeric variables, designed as an introductory experience for upper secondary school students. We describe the design process and the current concept of a student laboratory, that integrates this process model into a learning setting, following specific content and methodological design principles. Our approach aims to provide students with initial opportunities to engage with real data and mathematical modeling in meaningful contexts, thereby advancing their statistical literacy.This paper presents a comprehensive exploration of data-based modeling as a strategic approach to develop statistical literacy among upper secondary students. We detail a process framework that was implemented as part of a student laboratory, following specific content and methodical design principles. We assess the model’s application, acknowledging its educational contributions, pinpointing areas requiring refinement, and identifying gaps in current understanding. The implementation demonstrated benefits, especially in fostering students’ engagement and comprehension of statistical concepts
Zum Themenschwerpunkt „Data Literacy – Theoretische Perspektiven, unterrichtliche Konzepte und Ansätze der Entwicklung“
No full textEditorial zum Themenschwerpunkt Data Literac
Foreign businessmen and the financing of trade to the Indies in the second half of the18th century
No full textThis article examines the intermediary role of foreign merchants (especially French, Genoese, and Milanese businessmen) in managing European trade with the Indies through the Spanish port of Cadiz towards the end of the ancient regime, by focusing on the ways they structured their participation and the instruments they used to finance this trade. We argue that foreign merchants operated in two different institutional environments depending on the nature of their business: with their European partners, they relied upon the classical instruments of intra-European trade (such as account books, bills of exchange and commission contracts); with the cargadores, the merchants who were legally enable to participate in the Spanish transoceanic trade, they pooled European merchant and financial capital into the American markets by massively (albeit not exclusively) resorting to sea loans. The article not only discusses the persistent use of this instrument and its profitability, but also and the possible reasons for its decline in the last decades of the century.This article examines the intermediary role of foreign merchants (especially French, Genoese, and Milanese businessmen) in managing European trade with the Indies through the Spanish port of Cadiz towards the end of the ancient regime, by focusing on the ways they structured their participation and the instruments they used to finance this trade. We argue that foreign merchants operated in two different institutional environments depending on the nature of their business: with their European partners, they relied upon the classical instruments of intra-European trade (such as account books, bills of exchange and commission contracts); with the cargadores, the merchants who were legally enable to participate in the Spanish transoceanic trade, they pooled European merchant and financial capital into the American markets by massively (albeit not exclusively) resorting to sea loans. The article not only discusses the persistent use of this instrument and its profitability, but also and the possible reasons for its decline in the last decades of the century.Este artículo examina el papel intermediario de los comerciantes extranjeros (especialmente hombres de negocios franceses, genoveses y milaneses) en la gestión del comercio europeo con las Indias a través del puerto español de Cádiz hacia el final del Antiguo Régimen, centrándose en las formas en que estructuraron su participación y los instrumentos que utilizaron para financiar este comercio. Sostenemos que los comerciantes extranjeros operaban en dos entornos institucionales diferentes según la naturaleza de su negocio: con sus socios europeos, se basaban en los instrumentos clásicos del comercio intraeuropeo (como libros de cuentas, letras de cambio y contratos de comisión); con los cargadores, los comerciantes legalmente habilitados para participar en el comercio transoceánico español, agrupaban capital mercantil y financiero europeo destinado a los mercados americanos recurriendo de manera masiva (aunque no exclusiva) a los préstamos marítimos. El artículo no solo analiza el uso persistente de este instrumento y su rentabilidad, sino también las posibles razones de su declive en las últimas décadas del siglo
Retratos hablados: la representación visual del delincuente a través de la caricatura. Colombia: siglo XIX, principios del XX.
No full textIn diesem Artikel werden die historischen Dialoge zwischen künstlerischem Schaffen und der Konstruktion von Imaginären und visuellen Darstellungen der Figur des Kriminellen sowie aller jener, die verdächtigt wurden, es zu sein, vom mittleren 19. Jahrhundert bis zum frühen 20. Jahrhundert untersucht. Ausgehend von einer spezifischen Auswahl an Karikaturen von Kriminellen wird auf den folgenden Seiten analysiert, welche Rolle Künstler und Karikaturisten als aktive Akteure bei der Konfiguration von Bedeutungen in Bezug auf die Körperlichkeit von Individuen spielten, wobei sie auf eine Vielzahl von rassischen, sozialen und morphologischen Stereotypen zurückgriffen. Daraus ergibt sich die Beobachtung, wie der Einsatz von Karikaturen, die sowohl auf die Schaffung von Sittenbildern als auch auf politische und soziale Satire in der entstehenden unabhängigen Republik abzielten, eine hybride Funktion der Überwachung, Kontrolle und Identifizierung sozialer Gefahren erfüllte. Im Zusammenspiel dieser Wissensfelder mit rassischen Elementen, evolutionistischen Diskussionen, kriminalistischen Theorien sowie medizinischen und polizeilichen repressiven Praktiken wird untersucht, wie die Erstellung von Kriminellenregistern ein kriminelles Archetypus konstruierte, das soziale, rassische und wahlbezogene Identitäten kriminalisierte.This article examines the historical dialogues established between artistic practice and the construction of imaginaries and visual representations of the criminal figure—and those suspected of being criminals—from the mid-19th century to the early 20th century. Through a general selection of criminal caricatures, the following pages analyze the role played by artists and caricaturists as active agents in shaping meanings surrounding individuals\u27 corporeality via a variety of racial, social, and morphological stereotypes. This study explores how caricature, with its interest in the creation of costumbrista tableaux and political and social satire within the nascent independent Republic, fulfilled a hybrid function of surveillance, control, and identification of social dangers. At the intersection of racial discourses, evolutionary debates, criminological theories, medical practices, and police repression, the production of criminal records constructed a criminal archetype that effectively criminalized social, racial, and electoral identities.En este artículo se estudian los diálogos históricos entablados entre el ejercicio artístico y la construcción de imaginarios y representaciones visuales sobre la figura del criminal, y de todo aquel sospechoso de serlo desde mediados del siglo XIX y hasta principios del XX. A partir de una aproximación a una selección específica de caricaturas de criminales, en las siguientes páginas se analiza el rol que cumplieron los artistas y caricaturistas como agentes activos en la configuración de significaciones en torno a la corporalidad de los individuos a través de una variedad de estereotipos raciales, sociales y morfológicos. Con esto observaremos cómo los usos de la caricatura, interesada en la creación de cuadros costumbristas, y en la sátira política y social en la naciente República independiente, cumplieron con una labor híbrida de vigilancia, control e identificación de los peligros sociales. Dado el cruce entre estos saberes con elementos raciales, discusiones evolucionistas, teorías criminológicas y prácticas médicas, y represivas policiales, se estudia cómo la elaboración de registros de delincuentes construyó un arquetipo criminal que criminalizaba identidades sociales, de raza y electorales
“Instrument and Screen of All Your Villainies:” Charlotte Charke, Deviant Bodies, and Disguise in George Lillo’s The London Merchant
No full textGeorge Lillo’s The London Merchant, 1731, was required viewing for leagues of apprentices due to its seemingly straightforward moral: men and women should do as their positions, masters, law, and God require; transgressions are not to be tolerated. However, Millwood, the play’s powerful prostitute, rails against the aforementioned ideals, pointing out how men consume all that is beneficial to them, and how they subsequently dispose of the rest. She seduces and manipulates George Barnwell and uses him to lie, steal, and murder. At the play’s end, Millwood and George are hanged. This suggests that her ideas and those influenced by them die with her. Since this play was so widely viewed, it is important to take note of which actors were filling which roles in the production. Charlotte Charke—a notorious cross-dresser—played the role of George in 1734 and 1744. She played the role of Millwood twice in 1735. In the role of George, Charke’s performances imbue the role with a sense of deviance, if not ridiculousness, before his encounter with Millwood, who is unfairly blamed for his transgressions. Millwood crafts a story of abandonment for economic survival; Charke’s lived experiences as a women abandoned by her husband, her father, and her family, imbue this role with authenticity. While scholars have respectively discussed Charke’s life and autobiography and The London Merchant’s morality, the intersection of this actress’s personal history and her performance in this play has not been analyzed. Charke’s life experiences, celebrity, and presence on stage point to the fact that the consumption of transgressive female bodies sustain the prevailing systems of morality of the play. Looking at the eighteenth-century drama and Charke’s role in it through Marvin Carlson’s work on the haunted stage, and Felicity Nussbaum’s work on celebrity culture, this play illustrates the ways in which performance serves to utterly disrupt the meaning of a play as cultural icon and broken hegemonic symbol
Review: The Handmaid\u27s Tale (Hulu, 2017)
No full textIn lieu of an abstract, here is the first paragraph of the review:
In 2017, Hulu’s The Handmaid’s Tale garnered 13 Emmy nominations, making it one of the highest performing series for Hulu in terms of award nominations (Miller)
Muslim Feminist Agency and Arab American Literature: A Case Study of Mohja Kahf’s the girl in the tangerine scarf
No full textMohja Kahf’s novel the girl in the tangerine scarf highlights a broad spectrum of Muslim feminist agencies. In this essay I look at how her literary representations negotiate religious and feminist discourses in doing so. I further argue that her focus on empowerment through self-defined spirituality and religion sets her novel apart within the canon of contemporary Arab American literature, as most other Arab American feminist narratives focus rather on re-appropriations of orientalist Scheherazade figures to reclaim the transnational histories of Muslim women’s agency. The genre of the Arab American novel has experienced a veritable boom in the post 9/11 era. However, this rise is located within contemporary neo-Orientalisms and remains in an uneasy relationship to stereotypical audience expectations and to the marketing demands on ‘Muslim women’ to represent not themselves, but the supposed blanket oppression of women in Islam. Steven Salaita points to the inherent tensions between orientalist audience expectations and artistic self-representation in Arab American cultural production. Mohja Kahf picks up on this tension in her own theoretical work, but shifts our attention to the intersectional specificity encountered by Muslim feminist writers who have to work within both Western Orientalisms and the disapproval of Muslim conservatives who denounce feminism as a Western import and refuse any critique of their own patriarchy. Kahf suggests a constant double critique and careful contextualization to counter this double bind, and in this essay I not only analyze how she translates this approach into her own creative writing, but I also explore how her novel connects literary activism to Muslim feminist religious scholarship by developing a more expansive, non-binary way of conceiving Muslim women’s agencies
Fabulous Fetishization: Kylie Jenner’s Interview Cover and Wheelchair Identity Politics
No full textWearing a shiny black bodysuit, Dior shoes, and a collar, Kylie Jenner stares aimlessly downward, her unflexed arms lending no movement to the luxuriously golden wheelchair in which she sits. Because Jenner is able-bodied, this appearance on a December 2015 Interview cover incited critical reactions from the disability community. Disabled bodies are not generally associated with high fashion, making the use of a wheelchair in a fashion shoot is rare. While my work, like previous research on the Jenner family, considers Jenner’s role as sex symbol, here I am also interested in her performance of cripping up and disability simulation, in which Jenner appropriates the wheelchair from communities who see it as a symbol of access and independence. Jenner’s position in the fashion industry as a beautiful, sexualized woman is an interesting juxtaposition with her appropriation of the wheelchair, given that disabled individuals are so often portrayed as asexual. In this work, I position disability as a performance contextualized by culture, a perspective characterized by an understanding of disability as an embodied, enacted identity that is institutionally enforced. Understanding disability as performance allows a perspective on Jenner’s use of the wheelchair as part of a dramatic scene, while understanding that Jenner does not have the same societally-enforced or embodied experience of a person who uses a wheelchair because of physical need. I argue that Jenner’s performance, photographs taken in response to her shoot, and the discourse surrounding the controversy construct boundaries of what ethically acceptable wheelchair use should be, particularly with regard to media portrayals
The New Eugenics of Transhumanism: A Feminist Assessment
No full textTranshumanists are futurists who aim to upgrade the human into a posthuman species by supporting the use of reproductive technologies. The transhumanists Nick Bostrom, John Harris, and Julian Savulescu are bioethics scholars who identify as “new” eugenicists. They disavow the beliefs and practices of the late nineteenth, early twentieth century—here referred to as the “old” eugenics. They claim that contrary to these outdated eugenic principles it is individuals, not governments, who should determine the use of biotechnology. However, the new eugenicists insist that human beings are obligated to pursue the posthuman. In this paper, I contend that the principles of the new eugenic movement are not identical, but still worryingly similar to those of the old eugenics. The individualism of the new eugenics does not change the fact that its implications are strikingly similar to the old eugenic ideal of the able-bodied person. The new eugenicists suggest that the posthuman state aspires for the transcendence of the human body, and the elimination of dependence and chronic pain. Hence, they argue for a moral obligation to use biotechnology to prevent the births of many people with conditions that they consider to be disabilities. The new eugenicists defend their claims by supporting an antiquated medical model of disability that solidifies their connection to the old eugenics, and conflates disability with genetics, disease, and impairment. The feminist disability theorist Melinda Hall has challenged their contentions with a cultural model of disability. This paper will use the feminist disability theorist Jackie Leach Scully’s position on vulnerability to lend support to Hall’s argument. Hall and Scully show that the new eugenic position on disability is ableist and untenable, and much closer to the ideals of the old eugenics than Bostrom, Harris, and Savulescu admit
Looking in the Mirror: Biological Sisterhood, Doubleness, and the Body in Krissy Kneen’s Steeplechase
No full textBiological sisters share genetics and are born (often) in the same womb, therefore encouraging a sense of similitude. When a sister looks at her sister, then, she sees not ‘Other’ but simply ‘mine’, or, as Toni McNaron suggests, a sister is “someone who is both ourselves and very much not ourselves—a special kind of double” (7). Through close textual analysis, this paper examines how the doubleness of biological sisterhood encourages the understanding of a sister’s body as simultaneously ‘self’ and ‘other’ within Steeplechase (2011) by Krissy Kneen. Steeplechase explores the relationship between estranged, middleaged sisters Bec and Emily as they reunite at the opening of Emily’s art exhibition in Beijing. The relationship between Bec and Emily demonstrates that by understanding a sister’s body as simultaneously ‘self’ and ‘other’, sisters in literary fiction are able to challenge and disrupt the established boundaries of the body. This paper explores the unique perspective that biological sisterhood offers to reading the female body in literary fiction. This paper also argues that interrogating the corporeal bond between sisters can contribute to dismantling the predominant literary representations of biological sisters as rivals or as an idealizing metaphor, and can reveal deeper complexities of fictional biological sisterhood