Intergenerational transmission of memory is a process by which biographical knowledge contributes to the construction of collective memory (representation of a shared past). We investigated the intergenerational transmission of war-related memories and social-distance attitudes in second-generation post-war Croatians. We compared 2 groups of young adults from (1) Eastern Croatia (extensively affected by the war) and (2) Western Croatia (affected relatively less by the war). Participants were asked to (a) recall the 10 most important events that occurred in one of their parents' lives, (b) estimate the calendar years of each, and (c) provide scale ratings on them. Additionally, (d) all participants completed a modified Bogardus Social Distance scale, as well as an (e) War Events Checklist for their parents' lives. There were several findings. First, approximately two-thirds of Eastern Croatians and one-half of Western Croatians reported warrelated events from their parents' lives. Second, war-related memories impacted the second-generation's identity to a greater extent than did non-war-related memories; this effect was significantly greater in Eastern Croatians than in Western Croatians. Third, war-related events displayed markedly different mnemonic characteristics than non-war-related events. Fourth, the temporal distribution of events surrounding the war produced an upheaval bump, suggesting major transitions (e.g., war) contribute to the way collective memory is formed. And, finally, outright social ostracism and aggression toward out-groups were rarely expressed, independent of region. Nonetheless, social-distance scores were notably higher in Eastern Croatia than in Western Croatia.

No abstract

In two experiments, we examined the correspondence between the dynamics of metacognitive judgments and classification accuracy when participants were asked to learn category structures of different levels of complexity, i.e., to learn tasks of types I, II, and III according to Shepard et al. (1961). The stimuli were simple geometrical figures varying in the following three dimensions: color, shape, and size. In Experiment 1, we found moderate positive correlations between confidence and accuracy in task type II and weaker correlation in task type I and III. Moreover, the trend analysis in the backward learning curves revealed that there is a non-linear trend in accuracy for all three task types, but the same trend was observed in confidence for the task type I and II but not for task type III. In Experiment 2, we found that the feeling-of-warmth judgments (FOWs) showed moderate positive correlation with accuracy in all task types. Trend analysis revealed a similar non-linear component in accuracy and metacognitive judgments in task type II and III but not in task type I. Our results suggest that FOWs are a more sensitive measure of the progress of learning than confidence because FOWs capture global knowledge about the category structure, while confidence judgments are given at the level of an individual exemplar.

Cilj je slušanja glazbe u školi oblikovati kulturno-umjetnički svjetonazor učenica i učenika te doprinijeti njihovom estetskom odgoju. U hrvatskim osnovnim školama realizira se prema tzv. standardnom modelu kojemu je težište na spoznajnoj dimenziji. Kako bi se povećali pozornost, motivacija, slušalačke navike i prihvaćanje umjetničke glazbe, predlaže se spoznajno-emocionalni pristup koji višemodalno povezuje glazbene i izvanglazbene sadržaje. Cilj istraživanja bio je usporediti utjecaje spoznajno-emocionalnog i standardnog pristupa u nastavi glazbene kulture na spoznajni i emocionalni aspekt slušanja glazbe. Sudjelovalo je 557 učenika i učenica iz 30 petih razreda. Slušali su Hačaturjanovu Maskaradu, Beethovenovu Wellingtonovu pobjedu, Rimski Korsakovljevu Šeherezadu i Fauréovu Pavanu te odgovarali na pitanja vezana za spoznajni i emocionalni aspekt slušanja glazbe. Petnaest razreda imalo je nastavu po standardnom, a 15 razreda po spoznajno emocionalnom pristupu. U spoznajnom aspektu odgovori učenika i učenica uglavnom se nisu razlikovali. U emocionalnom aspektu, u Šeherezadi i Pavani nešto su intenzivnije doživljavane dominantne emocije kada je bio primijenjen spoznajno-emocionalni pristup.

No abstract