The inter-relationship between digital humanities and digital games is surprisingly seldom investigated. This book explains how games and virtual environments can be used in teaching and research to critique issues and topics in virtual heritage and interactive history. Individual chapters highlight the importance of visualisation, rituals, role-playing, alternatives to violent gameplay, interactive narrative, biofeedback and critical thinking.
The Handbook of Golf History By: Dr. Douglas Lonnstrom, Professor of Statistics, Siena College and Sara Riso, Summer Scholar, Sienna College The game of Golf evolved from various forms of stick and ball games over a long period of time. While it is difficult to determine the exact origin of golf, this HANDBOOK was written to be an informative guide tracing the history of Golf back to the 1400s. Topics covered are terms, balls, clubs, majors, women’s Golf, PGA and LPGA results by year from the beginning. There is a trivia quiz to test your knowledge. Until you read this book you will never know how little you knew about the game.
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
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