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When a parent dies the surviving parent and children are often unable to work together to cope with the loss. We propose that this situation arises from their inability to accept the finality of de... | Sharing grief experiences, or “storying” grief, can be a key resource in adapting to loss, one that can contribute to stronger bonds and relational intimacy within the family. In this article, the authors conceptualize communication between grieving family members in terms of 3 “D” processes, emphasizing the extent to which such communication is dialectic, dialogic, and dynamic in nature. They illustrate the complexity of sharing about a mutual loss, focused on these 3 features, by referring to a case study of a couple coping with the death of a child in the context of a newly formed family. Rather than unilaterally advocating the promotion of open communication, the authors suggest that therapists working with bereaved families first discuss the complexities of communication with the family members, specifically those concerning talking and keeping silent, and explore the different meanings associated with sharing grief experiences with each other. | generating families in the restricted three body problem is available in our book collection an online access to it is set as public so you can download it instantly. Our book servers saves in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the generating families in the restricted three body problem is universally compatible with any devices to read. | eng_Latn | 18,200 |
ABSTRACTCritical scholarship on Sri Lankan - Canadian author Michael Ondaatje’s postmodernist novel Anil’s Ghost has primarily focused on human and spectral agencies that animate the postcolonial politics of the novel. In this paper, I seek to complicate and expand such predominantly anthropocentric lenses by contending that material objects in the novel supplement its witnessing ‘from below’ in critical ways. I establish how bicycles, forest spaces, plantation houses and bombs are invested in as seminal ‘actants’ in the novel that impel a complex narrative of conflict violence and imaginaries of the future. The physical makeup of these objects as ‘assemblages’ are harnessed in the novel to produce an eco-critical ethics of witnessing, narrating and engaging with the postcolonial conflict zone that decentres the spectacular violence to foreground lived experiences of war and subaltern resistances to it. | There is a wide spectrum in reading Michael Ondaatje’s novel Anil’s Ghost , ranging from thinkers who explore literary, historical, to ethico-ontological and (a)political aspects. I confine the study by strictly retrieving the subjectivity of the human rights victim as not rested in its being a subject and victim, hence as a specter that haunts or ‘retaliates’ into exposing its victimization. This article attempts to read the spectral nature of this victim using Derrida and Žižek. The Derridean reading grounds the central spectrality on his hauntology and what it says about the victim’s ghostly character. Later, I expound on the act of haunting from a Žižekean standpoint by hinging on the notion of ‘drive’ that exposes the nature of victimization as depoliticizing the subject. | We prove that groups acting geometrically on delta-quasiconvex spaces contain no essential Baumslag-Solitar quotients as subgroups. This implies that they are translation discrete, meaning that the translation numbers of their nontorsion elements are bounded away from zero. | eng_Latn | 18,201 |
In his ghost stories, M.R. James disclosed the most irrational and fearful aspects of archaic demonology still haunting the modern world. He turns humans into prey species, hunted and haunted by repulsive insect- and spider-like demons. This paper offers a closer look at the creatures of horror and the recurrent theme of the hunt in James's ghost stories, viewing them in the context of Victorian evolutionary theories as well as traditional medieval beliefs. James's protagonists, unimaginative and unadventurous scholars, suddenly come face to face (or face to tentacle) with the enormity of the Universe and its non-human creatures as they invade and shatter the homely Edwardian world. From this perspective, James's works express the social and cultural fears of his generation. | Introduction imperial horror fiction Henry Hope Hodgson Arthur Machen H.G. Wells M.R. James Daphne du Maurier Dennis Wheatley C.S. Lewis Henry James Ramsay Campbell Clive Barker James Herbert. | We prove that groups acting geometrically on delta-quasiconvex spaces contain no essential Baumslag-Solitar quotients as subgroups. This implies that they are translation discrete, meaning that the translation numbers of their nontorsion elements are bounded away from zero. | eng_Latn | 18,202 |
Early in 1823 the Minister for Home Affairs and president-to-be of Argentina, Bernardino Rivadavia, created the Beneficent Society and established the Awards for Virtue (Premios a la Virtud). In his speech at the opening ceremony of the Beneficent Society, Rivadavia claimed that the new institution should pursue ‘moral perfection and spiritual work in the fair sex, dedication to industrious activities, which results from the combination of these attributes’. This philanthropic institution, made up of women belonging to the Porteno (Buenos Aires) elite, took up the beneficent side of the state. As a true representative of the Argentine liberal tradition, Rivadavia intended to deprive the Church of its central role in charitable activities and to give a new role to damas laicas (lay ladies) in taking care of other women and improving them both intellectually and morally. This early and strong alliance between public power and the most renowned elite women had the main goal of developing civic virtues in future citizens by raising and educating them within the scope of the moral qualities these women embodied. The rules of the Awards for Virtue read, | From Jose Marti’s famous declaration “decirlo es verlo” to Ruben Dario’s popular cronica series “Films de Paris,” modernista texts were imbued with a sense of the visual from the movement’s beginnings. In this essay, I argue that the interaction with emerging photographic and cinematographic technologies of the period was not a reactionary response to an existential threat of the literary by the visual. Instead, writers incorporated elements of visual culture to negotiate the field of cultural production and “to give color and life and air and flexibility to the old poetics that suffered paralysis,” to use Dario’s words that helped to define modernismo (qtd. in Franco 119). Reading lesser-known texts from writers Enrique Gomez Carrillo, Amado Nervo, and Alfonsina Storni, I propose that the discursive interaction between visual media and modernista literature furthered the literary ambitions of the cultural movement and coincided with its aesthetic purposes. Concepts from comparative media studies assist in reading the narratives of visuality during modernismo and this investigation attempts to bring this framework of study to modernista criticism in light of these writers’ immersion in the mediascape of the period. Photography and film established new routes of expression and narrative innovation in the cultural dynamic of the region. These elements also led to new critiques of Spanish American modernity through modernista textualities that increasingly incorporated visual media into the movement’s literary discourse. | Berzelius failed to make use of Faraday's electrochemical laws in his laborious determination of equivalent weights. | eng_Latn | 18,203 |
Tania Modleski claims that critical approaches to Hitchcock have falsely fallen into two camps: either he is seen as a misogynist, or he is seen as sympathetic to women in his demonstration of women's plight in patriarchy. In opposition to these positions, Modleski asserts that Hitchcock is ambivalent towards his female characters. Applying the theories of psychoananlysis, mass culture, and a broad range of film and feminist criticism, Modleski presents careful and fascinating readings of seven Hitchcock films from various periods in his career. | This paper offers an overview of popular cinematic remakes or re-visions of Ovid's tale of Pygmalion and conducts a close interrogation of three exemplary texts: Vertigo (1958), Blade Runner (1982), and Pretty Woman (1990). Employing a largely feminist and psychoanalytic approach to film analysis, it argues that these narratives detail an essentially fetishistic process of substituting a notionally "real" woman with an ostensibly more manageable version. This process of remaking or making-over is considered in terms of the narrative content of the films and the meta-narrative of textual adaptation, with its associated issues of original versus copy and hierarchies of high and low cultural production. | Berzelius failed to make use of Faraday's electrochemical laws in his laborious determination of equivalent weights. | eng_Latn | 18,204 |
Between 2003 and 2007, three versions of the Japanese novel, Shiroi Kyotou (The Great White Tower) were screened as television drama serials in Japan (2003), Taiwan (2006) and South Korea (2007). The phenomenon of White Tower reflects the vibrant multiculturality and transnationality of East Asian television dramas. Accordingly, this article seeks to use the various narratives of White Tower as manifestations of the underlying tensions of post-authoritarian and post-miracle economies of Taiwan, South Korea and Japan. While audiences are awed by the technologically sophisticated hospital settings and the rigidly disciplined health professionals in the productions, they are also exposed to the ugly realities of cronyism, neglect and arrogance of the predominantly male medical elite. Given the conservatism of most mainstream television dramas, the challenge here is to determine how to interpret the latest versions of White Tower as simultaneously exhibitions and critiques of Asian modernity. | Using Framing Theory as a theoretical framework, this study examined depictions of patients and doctor-patient communication in Chinese medical dramas. The textual analysis had two major fi... | We prove that groups acting geometrically on delta-quasiconvex spaces contain no essential Baumslag-Solitar quotients as subgroups. This implies that they are translation discrete, meaning that the translation numbers of their nontorsion elements are bounded away from zero. | eng_Latn | 18,205 |
In the consistent histories formalism one specifies a family of histories as an exhaustive set of pairwise exclusive descriptions of the dynamics of a quantum system. We define branching families of histories, which strike a middle ground between the two available mathematically precise definitions of families of histories, viz., product families and Isham's history projector operator formalism. The former are too narrow for applications, and the latter's generality comes at a certain cost, barring an intuitive reading of the ``histories''. Branching families retain the intuitiveness of product families, they allow for the interpretation of a history's weight as a probability, and they allow one to distinguish two kinds of coarse-graining, leading to reconsidering the motivation for the consistency condition. | Contrary to its initial idea, Belnap's (1992) theory of Branching Space-Times (BST) has models in which histories do not resemble relativistic space-times or any other physical space-times. The aim of this paper is to define a certain class of BST models, called "Minkowskian Branching Structures" (MBS), in which histories are isomorphic to Minkowski space-time. By focusing on these models rather than on general BST models, we hope that one may be able to improve on earlier BST analyzes of physical phenomena. Also, introducing MBS' sets the stage for recent discussions about whether or not `branching is a bad idea', physically speaking. | OBJECTIVE ::: Although patients with anorexia nervosa (AN) present positive responses to family therapy, the key features of therapeutic changes still require identification. This study explores the role of conflictual communication and affiliative nonverbal behaviour in therapeutic change in brief strategic family therapy (BSFT) for AN patients. ::: ::: ::: METHODS ::: Ten female AN patients and their parents were included in the sample and took part in a 6-month follow-up of BSFT. The durations of conflictual communication and of affiliative nonverbal behaviour estimated by eye contact were compared between the first and the last sessions of family-based treatment using nonparametric statistical tests. ::: ::: ::: RESULTS ::: An increase of the Body Mass Index associated with an increase in the conflictual communication expressed during BSFT sessions were observed. Moreover, affiliative nonverbal behaviour expressed by the father and the patient decrease, after a BSFT follow-up, in conflictual situations only. By contrast, no significant difference was observed in affiliative nonverbal behaviour expressed by the mother. ::: ::: ::: CONCLUSION ::: The present study demonstrates that the impact of the BSFT differs between members of a family: the AN patient and the father have established a new form of emotional functioning with a decrease in emotional involvement. The study of the combination between verbal and nonverbal communication can represent an important step in the understanding of the mechanisms of therapeutic change. | eng_Latn | 18,206 |
The internal ‘anorexic voice’: a feature or fallacy of eating disorders? | ABSTRACTPoor treatment outcomes have fuelled calls for the development of novel maintenance models of anorexia nervosa. Experiences of an internal ‘anorexic voice' are often reported in eating disorders but remain little understood. This article reviews anorexic voice research and examines how these experiences may be implicated in the persistence of eating pathology. Criticisms of the anorexic voice are then debated on both empirical and theoretical grounds. Frameworks for understanding the anorexic voice and guiding future research are lastly discussed. | Iceberg, bread, tunny was an installation in “From Floor to Sky: British Sculpture and the Studio Experience” curated by Peter Kardia,and held in London. Each artist was asked to submit one student's work and one current work. ::: Julie Myers said of my work that the video “felt like I was seeing a landscape through the eyes of another person - not just because its hand held - but it really is a moving image - the edits were perfect . . . and I loved the combination of objects, drawings and video in the space...”, Colin Perry (Art Monthly, April 2010) commented “From the late 1970’s, the influence of Lacan and a host of feminist and post-structural thinkers would confront the watching eyes of the male gaze. Meynell’s Diary, 1983, which incorporates photographs and found objects (rank hair from the bath plug, dried clove buds), seeks to redirect the image of women’s bodies away from the male gaze.” | eng_Latn | 18,207 |
Rethinking Ethnology in the Spanish Context | This paper' discusses Spanish ethnology and its current place in Spanish scholarship. The purpose is to examine possible future directions for the field. After first examining the history of ethnology in Spain, we then turn to examining the role of ethnologists in European societies today, as well as the concept of emergency ethnology. This last refers to the need for developing tools and theories to enable ethnologists to activate rapid-response mechanisms in crisis or emergency situations, and in that sense or context, serve as a meaningful social force. | Prof Heidi Montes, Program Director; for students in all SPAN courses, as well as IS 2100 - Culture of Ecuador & SPAN 3980 - History of Ecuador | eng_Latn | 18,208 |
“I Felt Guilty for Being So Happy”: Narrative Expressions and Management of Postdivorce Ambivalence | ABSTRACTScholars have highlighted ambivalence as a central feature of experiences of divorce and its aftermath and discussed ambivalence as an important issue for divorcees in adjusting to their new status. While most of this scholarship assesses postdivorce ambivalence as a psychological phenomenon to be addressed therapeutically, this study analyzes postdivorce ambivalence as an interpretive problem to be addressed sociologically. Following Merton’s (1976) insight that ambivalence be viewed as rooted in culture and social structure as well as individual psyche, we use a narrative analytic perspective to examine how divorcees both discursively express and interpretively manage their ambivalence. We then consider some of the more general cultural discourses—such as images of marriage and divorce—that shape or condition these narratives. Ultimately, we argue that conflicting stances toward marriage in the wider U.S. culture are at once important sources of postdivorce ambivalence and significant interpreti... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,209 |
Dermatologists criticise Facebook and Instagram for removing psoriasis images. | German and British dermatologists have accused Facebook and Instagram of discrimination and censorship for removing photographs of skin affected by psoriasis and blocking hashtags relating to psoriasis from their platforms.1 ::: ::: The accusations come as patients are increasingly posting photos of their skin on social media in an attempt to generate support, raise awareness, and destigmatise skin problems, according to support groups. ::: ::: In response to the social media bans, the UK Psoriasis Association launched an online petition to “stop the censorship of psoriasis on social media.”2 (www.change.org/p/instagram-and-facebook-stop-the-censorship-of-psoriasis-on-social-media) ::: ::: A spokesperson for Facebook, which owns Instagram, issued a statement saying that the bans were only temporary and are no longer in effect. ::: ::: “People use Instagram and Facebook to connect around the things that … | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,210 |
Hinglish cinema: The confluence of east and west | About September 1994, the character of Bollywood underwent a change with a deluge of movies such as Bomgay (1996), Bombay Boys (1998), Split Wide Open (1999), Everybody Says I Am Fine (2001), Leela (2002) and Hazaaron Khwaishein Aisi (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English and Hindi:Bhakti poets of Hindi celebrated and characterized such fusion as ‘sadhukari boli’ or ‘khichri boli’. The most recent addition to this long inventory of mixed systems is Hinglish, a blend of Hindi and English. (Bhatia, 2011, p. 37). | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,211 |
Bulgarian, Croatian, French and Turkish public libraries on Facebook : students' contributions | National teams of students who participated in 2012 Erasmus Intensive Program ’Library, Information and Cultural Management – Academic Summer School’ were asked to do researches on public libraries on Facebook in their countries. In the paper some of the results are presented and discussed. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,212 |
FOAFing the music: Bridging the semantic gap in music recommendation | In this paper we give an overview of the Foafing the Music system. The system uses the Friend of a Friend (FOAF) and RDF Site Summary (RSS) vocabularies for recommending music to a user, depending on the user's musical tastes and listening habits. Music information (new album releases and reviews, podcast sessions, audio from MP3 blogs, related artists' news, and upcoming gigs) is gathered from thousands of RSS feeds. The presented system provides music discovery by means of: user profiling (defined in the user's FOAF description), context-based information (extracted from music related RSS feeds) and content-based descriptions (extracted from the audio itself), based on a common ontology (OWL DL) that describes the music recommendation domain. The system is available at: http://foafing-the-music.iua.upf.edu. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,213 |
Nestor Makhno - Les images et les mots | Helene Châtelain, Nestor Makhno — Images and Word ; The film Nestor Makhno, Ukrainian Peasant directed by Helene Châtelain, is the result of an investigation of memory, and a study of how images and history were transformed by the Soviet authorities. The filmmaker's research illuminates not only how the memory of Makhno was eradicated, but also the power of language and filmed documents. The text published here is a witness to the birth of a film and how history is related. | Le fonds pan-europeen NEIF, conseille par BNP Paribas Real Estate Investment Services, obtient le label DGNB Silver pour l’immeuble Signaris a Francfort | fra_Latn | 18,214 |
Lo spirito come modificazione della lettera | This paper stresses the circumstance that Ferraris’ Documentalita shows that what is often improperly called “communication society” actually consists in a “recording society”. Recording is either a condition of the persistence of thought, and of the existence and the recognition of the social world, which expresses and settles itself in a configuration of documents. This perspective gets the notion of “spirit” out from its abstraction: without a letter, the spirit wouldn’t have any ontological consistence. What we call “spiritual” is the result of registrations: as such, it has a foundational value and implies the responsibility for the acts that result from it. | Revision de l'"Homme arme". - Date de la revision : 1971. - 1re execution : Perugia (Italie), 28 Sept 1971, Murray Melvin, the Fires of London, sous la direction du compositeur | ita_Latn | 18,215 |
Intratextuality, Trauma, and the Posthuman in Thomas Pynchon’sBleeding Edge | ABSTRACTIn Bleeding Edge Pynchon uses again a female unconventional detective, as he did in The Crying of Lot 49, with the ultimate aim of evaluating the condition of America. However, whereas Oedipa had to deal with an understanding of American society in terms of science and religion, in Bleeding Edge Maxine is at pains to understand a society ruled by the new paradigms of posthumanity and trauma. By focusing on the binary life/death, the article evaluates Pynchon’s portrayal of current society as posthuman and disrupted by a new type of social stagnation related to the control of information flow, a situation that demands the role of an active protagonist, in line with later theories in the field of trauma studies. The textual analysis points to information, terrorism, and web addiction as the new dangers that Maxine has to cope with if she wants to pull society back to motion. | The article discusses approaches to aspects of place and ::: identity in three late twentieth century British novels, The ::: Child in Time, City of the Mind, and Mother London in relation ::: to aspects of perspectives in urban geography on social and ::: urban development in 1980s London. | kor_Hang | 18,216 |
L.M. Montgomery: Anne of Green Gables | In August 1907, a few months after Anne of Green Gables had been accepted for publication, Lucy Maud Montgomery wrote joyfully in her Journal: ::: Well, I’ve written my book. The dream dreamed years ago in that old brown desk in school has come true at last after years of toil and struggle. And the realization is sweet — almost as sweet as the dream!1 ::: The novel, which appeared in June 1908, was, like most of the other books discussed in this study, an overnight success, despite its modest beginnings. As Montgomery herself explains: ::: Two years ago in the spring of 1905 I was looking over [my] notebook in search of some suitable idea for a short serial I wanted to write for a certain Sunday School paper and I found a faded entry, written ten years before:- “Elderly couple apply to orphan asylum for a boy. By mistake a girl is sent them.” I thought this would do. I began to block out chapters, devise incidents and “brood up” my heroine… Then the thought came, “Write a book about her.” (I, 330) | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,217 |
Desire for Revenge and Attitudes Toward the Khmer Rouge Tribunal Among Cambodians | This study examined determinants of desire for revenge among survivors of the Khmer Rouge (KR) regime and its impact on attitudes toward the upcoming KR justice tribunal. The KR genocide resulted in the deaths of approximately 2 million Cambodians. Almost 30 years later, a UN-ratified tribunal is finally about to get under way to put on trial the few remaining leaders of the KR regime. One hundred thirty survivors of the KR regime currently living in Cambodia were administered a broad set of measures relevant to trauma-related adjustment and attitudes toward the upcoming KR tribunal in a structured interview format. Access to social support during the KR regime, current socioeconomic status, benefit-finding-related coping, and trauma disclosure were shown to be unique determinants of desire for revenge. Desire for revenge, in turn, was predictive of more favorable attitudes toward the KR tribunal. The contribution of these findings to the existing literature on desire for revenge in the context of mass-le... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,218 |
TOWARDS AN ONTOLOGY OF FETISHES An Interview with Alphonso Lingis | Alphonso Lingis (1933– ) is an American continental philosopher and translator who is currently Professor Emeritus of Philosophy at Pennsylvania State University.1 Associated with the phenomenology, existentialism, and the ethical philosophy of Emmanuel Levinas and Maurice Merleau-Ponty, Lingis’s philosophical influences also encompass the literary works of Pierre Klossowski and Yukio Mishima, Michel Tournier, and the postpsychoanalytic theory of Jean-Francois Lyotard, Jacques Lacan, Gilles Deleuze, and Felix Guattari. Lingis’s philosophical concerns are thus similar to those of major continental philosophers such as Immanuel Kant and Friedrich Nietzsche, Edmund Husserl, Martin Heidegger, and Michel Foucault, and with whom he often engages in sustained dialogues on everything from sensuality and anthropology to travelogue, the human body, inanimate objects, the elements, and perception. | The author defines the new global bourgeois and proletariat aesthetics and identifies where oral literature attains a global position. This chapter concludes by establishing the place of Ilorin oral literature within the new global reality. | kor_Hang | 18,219 |
We need a more human perspective. | This article has been adapted from extracts from the recorded transcript of the authors address to the Medical Society of the World Health Organization. The author expresses his opinion in regard to inflationary tendencies in modern medical services with multiple British examples. An emphasis on progressive achievement of the prevention of illness is discussed in regard to the reduction of environmental exposures to physical and chemical substances as well as through improved hygiene. There seems to be a need to look anew at the whole subject of promoting health. The programs that we try to implement should be beneficial to all concerned the poor and the rich. We should seek to reach a kind of half-way house between the developed and the developing to the mutual benefit of the rich and poor. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,220 |
Constitutionalism and Human Rights: America, Poland, and France: A Bicentennial Colloquium at the Miller Center | This work is the sixth volume in the Miller Center Bicentennial Series on Constitutionalism. The contributors examine in several different essays the historical, political, and ideological connections among the constitutional experiences of France, Poland, and the United States. This study furthers the Miller Center's efforts to examine the United States Constitution and its interaction and interrelationship with other constitutions in the world. Although Poland's constitution was the focus of the book, the approach has been made unique by the fact that the study was not conducted solely through Polish eyes, but rather in relation to the constitutions which, with Poland, share the distinction of being the three oldest constitutions in the world, the French and the U.S. Co-published with the Miller Center of Public Affairs. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,221 |
India: Modi says Congress committed 'sin' of partition – South Asia Citizens Web | The fascist method of speech is contained in 3 rules: affirmation, repetition, contagion. They spread lies and practice deceit as a matter of habit. Truth is whatever is convenient for serving… | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,222 |
Ecological Sensibility and the Experience of Nature in the Twentieth- Century French Literature of Jean Giono, Marguerite Yourcenar and Julien Gracq | This essay provides a survey of relevant works by Jean Giono, Marguerite Yourcenar and Julien Gracq, three major authors of twentieth-century French literature. All of these authors attempt in various ways to overcome the nature-culture dualism, a largely neglected topic in modern French literature, which is in accordance with a Romantic conception of nature. The following article falls into two parts. In the first part, I will analyse selected examples of experiences of nature that reflect an awareness of the complex interdependence of humans and their natural environment, i.e. a basic form of ecological sensibility. In the second part, I propose to explore the correlation between ecological sensibility and the search for the good life, which aims at cultural and social change. Finally, I will evaluate the three writers’ debt to Romantic ecology and where they transcend it in order to create a modern ecological awareness informed by environmental ethics and science. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,223 |
The Colonising Camera: Photographs in the Making of Namibian History | Richly illustrated with black and white photographs, this book brings together provocative and exciting new material on Namibia's colonial past. It features an eight-page colour section that looks at how present day Namibians view themselves. It includes contributions from the editors, Wolfram Hartman, Jeremy Silvester and Patricia Hayes, as well as Michel Bollig, Jan Bart Gewald, Robert Gordon, Brent Harris, Landau, Rick Rohde, Margo Timm and Marion Wallace. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,224 |
Life After Eruption: Best of 2009–2013 | From our ongoing survey to study the post-nova population we present details on the four objects V728 Sco, AR Cir, V972 Oph and X Cir. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,225 |
Actress Diane Guerrero shares story of family struggle to encourage Latinos to vote | Television actress Diane Guerrero is using her personal story of her parent’s deportation to rally Latino voters to register to vote. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,226 |
Television: a Medium for Discovering Diversity? | Abstract The article deals with the methodological considerations about the formal characteristics of television news programmes and their impact on the formation of the concept of cultural differences. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,227 |
Modern Egypt, from 1517 to the end of the twentieth century | 1. Ottoman Egypt, 1525-1609 Michael Winter 2. Egypt in the seventeenth century Jane Hathaway 3. Egypt in the eighteenth century Daniel Crecelius 4. Culture in Ottoman Egypt Nell Hanna 5. The French occupation of Egypt, 1798-1801 Daniel Dykstra 6. The era of Mehmed Ali Pasha, 1805-48 Khaled Fahmy 7. Egypt under the successors of Muhammad Ali F. Robert Hunter 8. The Egyptian empire, 1805-85 Hassan Ahmed Ibrahim 9. The Urabi revolution and the British conquest, 1879-82 Donald Malcolm Reid 10. The British occupation, 1882-1922 M. W. Daly 11. Social and economic change in the 'long nineteenth century' Ehud Toledano 12. Egypt's liberal age Selma Botman 13. Egypt: society and economy, 1923-52 Joel Beinin 14. Republican Egypt interpreted: revolution and beyond Alain Roussillon 15. Modern Egyptian culture in the Arab world Paul Starkey. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,228 |
Modernism: Dehumaniztion of Art? | The art of the end of the 19th and of the beginning of the 20th centuries has undergone significant changes, so-called phenomenon of modernism. Spanish philosopher J. Ortega y Gasset has assessed those changes as the dehumanization of art. In the article an attempt is made to consider the modernism in the context of the general crisis of the culture of Western Europe. As the result the meaning of the paradoxical inference of Spanish philosopher is shown. | This paper, according to the current situation of the college libraries in the 21sr century, analyzes the challenges that the human resources management faced with, and gives some countermeasures by looking into the tendency of their service development. | eng_Latn | 18,229 |
Family Life Around Screens: Some Thoughts on the Impact of ICTs on Psychological Development and the Development of Relationships | ICTs mediate family life even before children are born, from the moment that future parents post their foetus’s ultrasound image on social media. Based on theories and research on the impact of ICTs on psychological development and the development of relationships, this paper attempts to outline the new mediated context within which today’s children are born and grow. The discussion is set around two main properties of ICTs, closely interwoven with the everyday life of children and their families: (i) the oversupply of (globally) pre-constructed homogeneous images and information diffused by all kinds of screens, which occupy mental space and often surpass the child’s cognitive and emotional capacity to handle, and (ii) the new form of mediated relationships promoted by ICTs, where the other is physically absent. The discussion is focused on the impact that ICTs instill on emotional and cognitive development, and the development of relationships. | Critical enquiries concerning the relationship between theatre and painting have posed a number of problems. Many scholars have perceived a direct visual ‘infl uence’, and have sought to determine which of the two arts had precedence. This article argues that the issue of ‘infl uence’, especially regarding art produced from the fi fteenth to the seventeenth centuries, has reached a dead end. Artistic practices of the Middle Ages and ::: of the early modern era must be examined within the framework of an archaeology of the gaze. The article attempts to establish categories to do this and recognize the importance of the role of the viewer at the time of the works’ execution. The discussion considers paintings representing pathos in order to analyse the notion of processional theatricality. | eng_Latn | 18,230 |
Mr Big of Bankstown, The scandalous Fitzpatrick and Browne affair [Book Review] | Review(s) of: Mr Big of Bankstown, The scandalous Fitzpatrick and Browne affair, by Andrew Moore, UWA Publishing, 2011, 251 pages, ISBN 9781742582788, $34.95. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,231 |
Managing Paradoxes: The Political Economy of Côte D ‘Ivoire Crisis | This study addresses the protracted militaro-political crisis in Cote D'Ivoire that has adversely disarticulated the Ivorian economy which is now prostrate.The crisis and the economy slump are having corrosive effects on the land-locked countries in West Africa, especially Burkina-Faso. The identity crisis that engulfed the country subsequently resulted in "ethnic consciousness" and waves of xenophobia is inimical to the economic growth of the country.Thus, The study concludes that it is imperative for the Ivorian political etlite to embrace genuine reconciliation that will pave the way for national rebirth in order to give the national economy the much needed new lease of life as well as a credible rehabilitation within the International Financial Institutions (IFIS). | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,232 |
Scrittura e vita. L'autobiografia di Janet Frame | Janet Frame writes his own autobiography between 1982 and 1985, when she was a famous author and her novels and tales were translated into many languages. Nearly sixty years old, she decides to rethink her life story, from childhood to adulthood, driven by the desire that characterizes most of the autobiographical tales, namely to rebuild the images of social representations of Self, of inevitable desires, of the unrealized possibilities, inner conquests that are not always aware. And she does it in a scrupulous, accurate, analytic way, anthropologist of her own interiority with which she entertains with in order to find out it and interrogate it. | Marziale Milani , Hassan N. Abdul-Wahab, Tariq H. Abbood , C. Savoia and F. Tatti Materials Science Department University of Milano-Bicocca, Via Cozzi 53, I–20125 Milano, Italy Lab „Bombay“ University of Milano-Bicocca, Via Cozzi 53, I–20125 Milano, Italy Department of Physics, College of Education, Al-Mustansiriyah University, Baghdad, Iraq ST Microelectronics, Agrate Brianza (MI), Italy FEI Italia, Viale Bianca Maria, 21 – I 20122 Milano (MI), Italy | ita_Latn | 18,233 |
Weak Tocks: Coming to a Bad End in English Poetry of the Later Eighteenth Century | The major poems of the later eighteenth century in England offered a series of disillusioned and protracted complaints, saying that the lovely rural villages of one's youth were irrevocably ruined and that the other alternatives for existence were unacceptable; that human beings were foolish to suppose that their trivial wishes might be permanently granted and that only the vanity which generates human suffering could ever imagine they should be; that the country folk, potentially wise and brave as they might be, lived unrecognized and unfulfilled, then died. | Iceberg, bread, tunny was an installation in “From Floor to Sky: British Sculpture and the Studio Experience” curated by Peter Kardia,and held in London. Each artist was asked to submit one student's work and one current work. ::: Julie Myers said of my work that the video “felt like I was seeing a landscape through the eyes of another person - not just because its hand held - but it really is a moving image - the edits were perfect . . . and I loved the combination of objects, drawings and video in the space...”, Colin Perry (Art Monthly, April 2010) commented “From the late 1970’s, the influence of Lacan and a host of feminist and post-structural thinkers would confront the watching eyes of the male gaze. Meynell’s Diary, 1983, which incorporates photographs and found objects (rank hair from the bath plug, dried clove buds), seeks to redirect the image of women’s bodies away from the male gaze.” | eng_Latn | 18,234 |
The origins of Communist Unity: anti-colonialism and revolution in Iran’s tri-continental moment | AbstractThis article analyses the historical emergence of the Organization of Communist Unity, which coalesced out of the National Front of Iran and its Organizations abroad. In the aftermath of the MI6/CIA-orchestrated 1953 coup d’etat, a new generation of political activists left Iran for Europe and the United States to pursue their higher education. While politically active in the Organizations of the National Front Abroad, they gradually turned to revolutionary Marxism against the backdrop of the torrential waves of decolonization and resistance to imperial military interventions undulating across the Global South. This same constellation of activists was not only fiercely anti-imperialist, but also opposed any form of dependence on the U.S.S.R. or the People’s Republic of China. They would move from Europe and the United States to establish themselves in several locations across the Arab world, and pursue political activism and their advocacy of guerrilla warfare, as part of their ambition to launch ... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,235 |
The Contemporary Folk Belief of Manchu--The Second Investment of Folk Belief of Manchu | The folk belief of Manchu is the main component of Manchu folk literature. During the developing and shaping process, the Manchu culture and its characteristic form at more or loss extent, what' s the function in the Manchu life? With a series of such questions we take a primary investment of the Manchu folk belief in Siping area. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,236 |
The Role of Music and Music Therapy in Aphasia Rehabilitation | A stroke results in brain damage, often causing loss or reduction in speech and language capacity. Music and music therapy can contribute to the recovery of speech and provide emotional support to individuals with aphasia. There is a diverse body of research on the links between music and language. Musical structure is related to language syntax. Singing songs from one’s culture, the emotional act of singing, the theatrics of singing, and musical improvisation can all influence speech output. The purpose of this article is to review current research on the links between language and music in brain function in order tofurther explore, through case study and analysis of music therapy application, how music might be employed as part of acomprehensive, multimodal approach to speech and language rehabilitation. | Considering increased average life expectancy, the world-wide demographical crisis and discrimination ::: of the elderly, the article studies strategies of aging and various forms of adaptation to changes in late adulthood in fiction. The goal of the study is examination of representations of the fictional elderly artists in a collection of plays by Tina Howe (1989). The author of the article analyzes the interaction of art and late adulthood ::: in Museum, Painting Churches and Coastal Disturbances. Contemplation of art and involvement into artistic ::: activities help establish positive images of aging in three dramas. Life review fragments, discourse of death drive, discussion of elderly suicide and self-stereotyping are defined as gerontological markers of aging. The plays in question build an ambivalent solidarity-conflict model between aging parents and adult child. The involvement into artistic activities becomes a way to cope with aging in lives of the elderly characters. | eng_Latn | 18,237 |
“Lo somni”, en la línea del ensayo moderno | This study is an application of the notes about modern essay to the important Bernat Metge’s dialogue Lo somni , the first and most important work of Catalan Humanism. The result of this study is that this work can be considered as a precedent of this genre, as has been the case with Seneca’s epistles. | Tienda online donde Comprar Intra-Articular Injections al precio 84,89 € de Anil Pandey | Sureshwar Pandey, tienda de Libros de Medicina, Libros de Medicina Familiar y Comunitaria/General - Medicina general | spa_Latn | 18,238 |
The North Korea-Myanmar Relationship: A Historical Perspective | While interest in the friendship between North Korea and Myanmar has intensified in recent months, theirs is a partnership that dates back to the early 1960s. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,239 |
Economic Crisis and Forest Cover Change in Cameroon: The Roles of Migration, Crop Diversification, and Gender Division of Labor | This article attempts to explain how changes in population dynamics and smallholder agriculture have led to increased deforestation in the period of the crisis. These foci are justified by the fact that population growth and shifting cultivation are generally viewed respectively as the main cause of agent of deforestation in Central Africa in general and in Cameroon in particular. Other factors contributing to deforestation and forest degradation in Cameroon are logging and the construction of transportation infrastructure. This article examines the role of agricultural smallholders in Cameroons forest cover loss within the context of dramatic macroeconomic events in the last 20 years. Beginning in the late 1970s Cameroon experienced a period of rapid economic growth followed by a devastating recession beginning in 1986 a weakly implemented structural adjustment program in 1989 and then a drastic currency devaluation and weak economic recovery beginning in 1994. (excerpt) | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,240 |
Sonnets from the Portuguese : a celebration of love | Elizabeth Barrett Browning was a prolific writer and reviewer in the Victorian period, and in her lifetime, her reputation as a poet was at least as great as that of her husband, poet Robert Browning. Some of her poetry has been noted in recent years for strong feminist themes, but the poems for which Elizabeth Barrett Browning is undoubtedly best known are "Sonnets From The Portuguese". Written for Robert Browning, who had affectionately nicknamed her his "little Portuguese," the sequence is a celebration of marriage, and of one of the most famous romances of the nineteenth century. Recognised for their Victorian tradition and discipline, these are some of the most passionate and memorable love poems in the English language. There are forty-four poems in the collection, including the very beautiful sonnet, "How do I love thee? Let me count the ways." | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,241 |
What Happened to Korea Ten Years Ago | Apparatus and methods for recharging various types of battery cells are enclosed involving alternating periods of charging and discharging of the cells, a reference charge cut-off voltage, a comparator for comparing cell voltage with cut-off voltage, and a circuit for stopping charging activity when cell open circuit voltage is at least a desired minimum voltage. Charge activity is terminated following the achievement of a minimum acceptable state-of-charge so as to limit the total current delivered to the cell in order to prevent cell degradation. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,242 |
REVOLUTION OF MILITARY AFFAIRS:THE AMERICANS POINTS OF VIEW | Ever after a Russian officer put forth the perception of RMA,the Americans have been ,mainly in the field of practice ,doing a lot for experiments of the issue. Yet how the RMA affects the security and military strategy of the United States ,how it revises the America's military relationship with regional powers such as China ,the author comes to his conclusions by carefully analysing the past and reality ,the basic commen opinions as well as main disputes among some American experts. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | yue_Hant | 18,243 |
Motion Picture Studies of Electron Bombardment of Colloidal Crystals | Phenomena not seen or recorded by orthodox methods are observed on the large number of micrographs which are taken during a motion picture experiment, and reaction times as short as 0.03 sec. can be calculated. The technique is useful for investigating solid‐liquid‐solid changes both by direct observation and by recording Bragg reflections. In most cases a preliminary effect of electrons upon crystals is to drive off water. In the case of sodium chloride crystals a residual envelope is left. Inside this, small particles, both solid and liquid, are observed to move rapidly due, it is believed, to a combination of Brownian movement and convection. These gradually evaporate and diffuse through the wall. The possibility is discussed that the residual envelope is formed by contamination. Examples are also taken from bombarded, colloidal crystals of tungsten oxide. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,244 |
A History of Everyday Things: The Birth of Consumption in France, 1600 1800 | Introduction Part I. Production and Consumption: 1. The natural framework and the human framework 2. Towns, trade and inventions 3. Ordinary consumption and luxury consumption Part II. Ordinary Life: 4. Rural and urban housing 5. Lighting and heating 6. Water and its uses 7. Furniture and objects 8. Clothing and appearances 9. Bread, wine, taste Conclusion. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,245 |
“Honey‐Drenched, Rags to Riches, Good versus Evil Stories” | A telenovela is a Latin American form of serialized television melodrama. Until recently, telenovelas were only broadcast in the United States for Spanish-speaking audiences. This essay explores how mainstream American print media framed the telenovela genre in their coverage of four telenovela adaptations broadcast in English on My Network TV (a Fox-owned station) in 2006 and 2007. The analysis helps locate the coverage of the telenovela in a larger social and cultural context. Specifically, My Network TV's telenovelas suffered from an identity crisis. They were never embraced as telenovelas by the network, they were promoted as a new US genre, and their Latino identity was never explicit enough to be relevant. ::: ::: ::: Keywords: ::: ::: telenovela; ::: adaptations; ::: press coverage; ::: discourse analysis; ::: Latinos in the U.S; ::: Latin American media | Preface 1. Changing Times 2. On the Way to a Different Place 3. This Land Is Their Land 4. Their Name Is "Woman" 5. A Rightful Coming of Age 6. Not Without Struggle Afterword Notes Church Documents Cited Index | eng_Latn | 18,246 |
Unamuno, lo inconsciente y la historia | ABSTRACT: The Unamunian dialectic was aimed at achieving a rhetorical effect: to produce in the reader's soul the movement of the waves of the sea, a metaphor that he used to expound his theory of «intrahistoria». This concept must also be seen in the nascent theories of the Unconscious, which are so well accepted today. According to Unamuno, knowledge always ends in the perception of the individual, the concrete. Within this context, "nimbo" is understood as well as Unamuno's criticsm of Calderon and the "castizo" writers. | Tienda online donde Comprar Intra-Articular Injections al precio 84,89 € de Anil Pandey | Sureshwar Pandey, tienda de Libros de Medicina, Libros de Medicina Familiar y Comunitaria/General - Medicina general | spa_Latn | 18,247 |
SEVERE ACUTE POISONING BY INTENTIONAL SELF-HARM WITH CYPERMETHRIN | Severe acute poisoning of cypermethrin is rare. We report this case about a 47-year oldman who was brought to Emergency Room with drowsiness and drooling of saliva after intentional self-harm with 2.25 gram of cypermethrin. His initialcondition was stable. However, nine hours after admission, he developed seizures and reduced conscious level. He was ventilated overnight for airway protection. Management of acute severe poisoning is discussed in this case report. | ABSTRACTIn Bleeding Edge Pynchon uses again a female unconventional detective, as he did in The Crying of Lot 49, with the ultimate aim of evaluating the condition of America. However, whereas Oedipa had to deal with an understanding of American society in terms of science and religion, in Bleeding Edge Maxine is at pains to understand a society ruled by the new paradigms of posthumanity and trauma. By focusing on the binary life/death, the article evaluates Pynchon’s portrayal of current society as posthuman and disrupted by a new type of social stagnation related to the control of information flow, a situation that demands the role of an active protagonist, in line with later theories in the field of trauma studies. The textual analysis points to information, terrorism, and web addiction as the new dangers that Maxine has to cope with if she wants to pull society back to motion. | yue_Hant | 18,248 |
The Implicit Body as Performance: Analyzing Interactive Art | ABSTRACT This paper puts contemporary theories of embodiment and performance in the service of interactive arts criticism. Rather than focusing on vision, structure or signification, the author proposes that we explicitly examine bodies-in-relation, interaction as performance, and “being” as “being-with.” He presents four concrete areas of concentration for analyzing the category of interactive art. The author also examines how such work amplifies subjects and objects as always already implicated across one another. | This paper,by studying the text of Sun Ling's work Dancing on the Silk Road and combining with biographical research and textual narration research,discusses three visual relationships in the text,that is,the other in the author's eyes,the self in the author's eyes and the author in the other's eyes,and discusses the relationships between the construction and being constructed between the awareness of the subject and its coordination between the public domain and private domain. | eng_Latn | 18,249 |
Melodies from the Past, Melodies from the Present: Music and Identity in the Cuban Diaspora | AbstractThis article discusses the impact of popular music on the Cuban diaspora (London) by focusing on the ways in which music is used to construct notions of identity and nation. It is argued that, in the host country, Cuban emigrants benefit from a diverse soundscape, which enables them to choose, consume, and perform a selection of popular, national, and diasporic music devoid of the political charge music acquired in their homeland. In diaspora, new listening strategies engage migrants in reconsidering the role certain artists had in shaping their previous knowledge about what constituted national music. A new knowledge, produced in diaspora, influences personal processes of subject construction and the appropriation of a national identity, which departs from previous notions learned in the homeland. The article is based on a series of qualitative interviews with members of the Cuban diaspora in London and participant observation carried out during 2006–07.En el presente articulo se discute el impac... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,250 |
WOMEN IN TURKEY OF THE 21ST CENTURY AND THE PARADOX OF POLITICS: NON-IDEOLOGICAL PARTY OF WOMEN | This study defines the characteristics of the “Non-Ideological Party of Women” and presents the findings of the field study. Based on data obtained, we propose solutions to overcome the paradoxical situation of the women in politics in the 21st century. The concept of the “Non-Ideological Party of Women” was first developed within the context of this research project, which was supported by the Dokuz Eylul University Scientific Research Office and published. The concept points out the collective movement of women that support different ideologies as well as the support of men to the party. Besides, we evaluate the importance and the future of the Non-Ideological Party of Women in political life. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | yue_Hant | 18,251 |
Counter-stereotypical Images of Muslim Characters in the Television Serial 24: A Difference that Makes no Difference? | In the early years of the millennium racial counter-stereotypes gained prominence in Hollywood entertainment. This article examines the television serial 24’s (2001–10) efforts to combat allegations of stereotyping by including racial counter-stereotypes of Muslim characters, as the serial has been accused of stereotyping this specific group. 24’s attempts to achieve a balanced portrayal have resulted in the introduction of Muslims who feature among the regular cast and are depicted in a positive manner. Combining close analysis with critical and theoretical accounts of ‘whiteness’ and counter-stereotyping, the article centres on the key characteristics of counter-stereotypes and how they operate in 24. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,252 |
Counter-essentialist femininity in post-dictatorship Argentine dramaturgy—A comparative study in Northwestern and Patagonian regions | During the dictatorial periods, Argentine dramaturgy consolidated a specific identity rhetoric, which was represented aesthetically and imaginatively through the “feminized nation”. This essentialist figuration was the object of speeches pronounced by the dictators, and by the opponents of authoritarian regimes. The purpose of this article is to analyze the hermeneutic revival of this imaginary figuration on women in the postdictatorial dramaturgies of the Argentinean Patagonia and Northwestern Argentina, in order to understand their particular poetic procedures and their counter-essentialist identitarian positions. In line with this, we will use theoretical-methodological tools from the anthropology of the imaginary (Wunenburger, 2008), the sociology of culture (Proano-Gomez, 2002; Grimson, 2012) and comparative literature (Palermo, 2005; Dubatti, 2008). | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,253 |
The art and science of poster presentation in a conference | Abstract Poster presentation is an effective mode of scientific communication and involves both arts and science. The poster presentation besides being aesthetically designed should also contain necessary high quality. While efforts are made to teach the elements of writing a journal article in many graduate school curricula, much less attention is pain to teaching those skills necessary to develop a good oral or poster presentation – even though these arguably are the common and most rapid ways to disseminate new findings. The various stages of poster presentation include planning, organization, printing, poster transportation, display and interaction stage. Electronic poster (or e-poster) is a new way to present academic work at conference and there is an increasing acceptance of this form of poster. In both the formats, poster presentation should be visual feast for the attendee. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,254 |
Officer, Nurse, Woman: The Army Nurse Corps in the Vietnam War | Review of Officer, nurse, woman: the army nurse corps in the Vietnam war by Kara Dixon Vuic | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,255 |
I Know You Are, but What Am I? Adolescents' Third-Person Perception Regarding Dating Violence | A survey of adolescents ( N = 1,646) documented third-person perception regarding media depictions of dating/relationship violence. It also contributes to the growing literature documenting optimistic bias as a strong predictor of third-person perception and draws from the optimistic bias literature considering new variables including self-esteem, self-efficacy, and experience with violence. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,256 |
What To Do When Your Marriage is in Trouble | Very often marital problems arise from different moral failures, usually by both husband and wife. At other times nonmoral factors can cause them. Since God's grace and human persons cooperating with his grace can overcome all serious sins, the moral failings troubling a marriage can be overcome if the couple uses the means necessary to do so. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,257 |
OVERVIEW AND PROSPECT OF RESEARCH ON TOURISM OF FRENCH GEOGRAPHY | French geography is hard-working into tourism research since more than five decades and has made an important contribution to it.This article analyses the emergence,the constitution and evolution of the research on tourism from the point of view of French geography and its relationships with other disciplines.It presents the latest trends,especially the movement towards a "geographical approach of tourism",and the essential elements of its heuristical perspectives: practice-centred approach,evaluation and management of places,historicity and concept of places.These reflections are able to trigger others,such as existential,political,economical and memorial issues.Thus,tourism offers to the geographical science an open range of its manifestations. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | yue_Hant | 18,258 |
Nutritional transition: a retrospective analysis of the nutritional status of pregnant women along the Thai-Myanmar border | 'Nutritional transition' is occurring worldwide, particularly in Asia, with a trend towards increasing obesity which in pregnancy can affect maternal and fetal health. This phenomenon in developing countries is complicated by 'duel burden' households – those affected by both under and over nutrition. Shoklo Malaria Research Centre has provided antenatal care alongthe Thai-Myanmar border since 1986. Whilst malnutrition has been an ongoing concern, in recent years an increased number ofoverweight women has been anecdotally noted. We aim to describe changes in the nutritional status of refugeesand migrant populations along the Thai-Myanmar border from 1986 to 2013. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,259 |
Language in the balance: the politics of non-accommodation on bilingual Ukrainian–Russian television shows | The practice of speaking one's preferred language, Ukrainian or Russian, regardless of the language spoken by one's interlocutor has become widespread in media and public life in Ukraine since independence. I refer to this practice as “non-accommodating bilingualism,” since for communication to occur the participating individuals are necessarily bilingual to some degree, but neither accommodates by switching to the language spoken by the other. In this article I investigate the prevalence, variety, and significance of non-accommodating bilingualism in Ukraine, with particular focus on television talk and game shows. I argue that while in some ways bilingual non-accommodation functions to defuse the contested issue of language choice, it can also perpetuate existing linguistic inequalities and tensions. Even in conversations where speakers are free to speak whichever language they prefer, the politics of Ukrainian and Russian language and ethnicity continue to be engaged. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,260 |
Research Guides: History 313: The Revolutionary Century: France, 1789-1900: Getting Started | This guide supports student research projects for Professor Cole's History 313/French 344 class on the French Revolution. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,261 |
A Study of The Domestic Base Closure Process: From the 1980's to The Present | This thesis document was issues under the authority of another institution, not NPS. At the time it was written, a copy was added to the NPS Library Collection for reasons not now known. It has been included in the digital archive for its historical value to NPS. Not believed to be a CIVINS (Civilian Institutions) title. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,262 |
Tamie Fraser with Lady Sushil Ramgoolam at the Commonwealth Heads of Government Meeting in Melbourne. | Tamie Fraser, the wife of Prime Minister Malcolm Fraser, talking with Lady Sushil Ramgoolam, the wife of The Prime Minister of Mauritius Sir Seewoosagur Ramgoolan, who visited Melbourne to participate in the 1981 Commonwealth Heads of Government Meeting. ::: Comments: CHOGM brought together Prime Ministers, Presidents, senior Ministers and officials from 41 Commonwealth countries representing one quarter of the world's population. ::: Inscription: In an album labelled "Presented to the Right Honourable Malcolm Fraser, MP - Prime Minister of Australia - as a memento of your participation in the Commonwealth Heads of Government Meeting in Melbourne, Australia". ::: Previous Control Number: UMA/I/6093 ::: Previous Control Number: PA/141 | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,263 |
Human Actions Illustrated in Zen’s Ox-Herding Pictures | The enlightenment from Zen's perspective is the experiences of action that reveal a horizon of new consciousness. This event of enlightenment is the process of action rather than the outcome of action. Therefore, actions are not just the means to enlightenment but the very core of it. The actions of enlightenment from Zen's perspective cannot be adequately described and explained in logical terms. Unlike most other Buddhist schools, Zen does not engage in extensive philosophical discourses; its classical literatures are mostly artistic in nature, consisting of collections of koans, poetry, and paintings, etc. The ten ox-herding pictures of Zen Buddhism are recognized as the classical illustration of Zen's spiritual journey, as it vividly depicts the practice of Zen in a poetic and metaphorical way. They present a visual parable of the path to enlightenment in a narrative sequence of a boy's searching, seeing, wrestling, riding, and transcending of the ox. | Through this article the author presents an experimental collage about the experiment of writing and its relation to the analogies of kinship—an enactment of folk phenomenology. | eng_Latn | 18,264 |
Reflections on Waldron's Archetypes | Jeremy Waldron argued that the government lawyers responsible for the ‘torture memos’ acted unprofessionally by undermining the prohibition on torture. He did so partly on the basis that that the torture prohibition represents a ‘legal archetype’ which cannot be undermined without doing considerable harm to large bodies of law. This paper argues that, however much intuitive appeal Waldron’s archetype-based analysis may have, its force is inherently limited. This is so for two reasons. First, the claim that the torture prohibition is an archetype for non-brutality can only make a meaningful difference to the integrity of the legal order insofar as ‘brutality’ is understood widely. Waldron, though, reads ‘brutality’ in a narrow fashion. Second, and more importantly, the claim that archetypes are uniquely important to legal reasoning and the legal order is deeply problematic. | ABSTRACTIn this paper, a set of ecological principles (actor-type, interaction-type, nestedness) that have been theoretically associated with organizational ecosystems guides a qualitative explorat... | eng_Latn | 18,265 |
Islam as a Heresy: Christendom's Ideological View of Islam | The heresies discussed in the book by Jeffrey Burton Russell, Dissent and Order in the Middle Ages cover a variety of types. When heresies appeared across Europe, they were swiftly and often harshly dealt with. Witness the Cathars and the Albigensian Crusade concluding with the massacre of the Cathars at Montsegur in 1244. However, Islam presents a challenge to the student of Christian heresies, for it does not fit neatly into the same category as the Cathars. 1 | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,266 |
Knowledge vs True Belief in the Socratic Psychology of Action | Rejetant l'objection aristotelicienne concernant la stabilite de la connaissance et de la croyance vraie, l'A. souligne la validite de la psychologie socratique de l'action, fondee sur la possibilite d'une akrasia de la croyance diachronique et sur l'impossibilite d'une akrasia de la connaissance diachronique | A Dissertation Submitted to the School of Graduate Studies, ::: Kwame Nkrumah University of Science and Technology in ::: Partial Fulfillment of the Requirements for the degree of ::: ::: ::: ::: ::: ::: ::: DOCTOR OF PHILOSOPHY ::: (ART EDUCATION) ::: ::: ::: ::: Faculty of Fine Art, ::: College of Art and Social Sciences. ::: ::: June, 2009 | eng_Latn | 18,267 |
INTERNATIONAL MARITIME LAW IN TRANSITION: NEW CHALLENGES FOR EDUCATION AND TRAINING | The extended base of maritime law has moved far beyond its traditional commercial base and today includes a number of important aspects of the law of the sea, environmental law and policy, labour law and policy in other areas. Maritime education and training curricula in place in most states of the world have not kept pace with this expansion. This article examines the extended base of modern maritime law and recommends that maritime education and training must today include a greatly increased portion of legal and policy knowledge in order to ensure the overall competency of those who operate vessels in an ever-more complex maritime era. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | yue_Hant | 18,268 |
Everyday Life During the Siege of Ostend (1601-04). Ceramics at the Spanish St Isabella Fort | The St Isabella Fort was one of a chain of fortresses from which the Spanish army besieged the city of Ostend (Belgium) from 1601 until 1604. The site was excavated in 1990; however, the excavated ... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,269 |
The Genetic Diathesis of Eating Disorders | Abstract This chapter illustrates the importance of puberty and ovarian hormones amongst genetic factors that have roles in eating disorders (in addition to cultural and environmental factors). These genetic influences are dynamic and increase dramatically following the onset of puberty in girls. Ovarian hormone (i.e., estrogen and progesterone) activation at puberty appears to contribute to these pubertal increases and the genetic diathesis of eating disorders. As well as giving details of these hormonal influences on eating disorders the authors highlight the need for future studies to examine genetic, psychosocial, environmental, and cultural risk factors to develop a more comprehensive model of biopsychosocial influences on eating disorders. | What is the correct version of A Corner in Wheat? This problem is a crucial one for the study of the development of parallel editing for contrast in the work of D. W. Griffith. In "Notes on Eisenstein's essay, 'Dickens, Griffith, and the Film Today,' 'l I tried to show that the roots of some of Eisenstein's montage ideas existed in Griffith's Biograph films. My thesis was that, contrary to what Eisenstein had said, Griffith not only made a number of films of social protest, but also conceived of contrast editing for use in such films. This kind of editing, it seems to me, points the way toward Eisenstein's conception of ideological montage, because it forces the spectator to accept certain intellectual conclusions. The film A Corner in Wheat is one of the key examples of this thesis. However, as this article intends to show, there is some difficulty in determining the sequence of the shots. | eng_Latn | 18,270 |
New Measures of Mental State and Behavior Based on Data Collected From Sensors, Smartphones, and the Internet | With the rapid and ubiquitous acceptance of new technologies, algorithms will be used to estimate new measures of mental state and behavior based on digital data. The algorithms will analyze data collected from sensors in smartphones and wearable technology, and data collected from Internet and smartphone usage and activities. In the future, new medical measures that assist with the screening, diagnosis, and monitoring of psychiatric disorders will be available despite unresolved reliability, usability, and privacy issues. At the same time, similar non-medical commercial measures of mental state are being developed primarily for targeted advertising. There are societal and ethical implications related to the use of these measures of mental state and behavior for both medical and non-medical purposes. | The study reported here looked at how two groups of people – one with art expertise and one without – made sense of their encounters with an exhibition of a single artist, the late Paul-Henri Bourguignon. The study builds on previous research using Dervin's Sense-Making Methodology to study how people interpret their arts experiences within the contexts of their everyday lives. Informants were asked to rank-order their selections among the pieces on display according to which had the most impact for them (however they defined impact). Each informant then did a structured qualitative interview focusing on the work he or she chose as most impactful. The researchers looked at thematic elements and other patterns of similarity and difference that arose in the interviews and offer thoughts on how the results of this study may provide insight to those who work in museums. | eng_Latn | 18,271 |
“Safety of Hepatitis C Virus (HCV) treated donors for kidney transplantation (KT) excluding occult HCV infection through kidney biopsies.” | In 2011, the first Direct Acting Antiviral (DAA) agent was approved for HCV treatment, with high rates of sustained viral response (SVR). Absence of RNA-HCV viral load 12 weeks after end of treatment is considered as permanent viral eradication. However anti-HCV could remain positive despite successful antiviral therapy2.Moreover,HCV can infect extrahepatic tissues, including kidney. The infected extrahepatic tissues might play a role in both HCV persistence and reactivation of infection. This article is protected by copyright. All rights reserved. | Prominent Irish philosopher Richard Kearney’s notion of ‘carnal hermeneutics’ is introduced by applying it to a case study of a recent event that took place at one of South Africa’s university campuses. The narrative assists in illuminating some of the core principles of carnal hermeneutics and illustrates the applicability of carnal hermeneutics as a ‘diagnostic caring for lived existence’. In the process, an analysis is also given of the event in question, which is connected to what has widely been labelled as ‘blackface’. In conclusion, the contextual, philosophical, ethical, and theological implications of carnal hermeneutics are explored with an eye on theological praxes in South Africa today. Keywords: Carnal Hermeneutics; Hermeneutics; Flesh; Body; Richard Kearney; Merleau-Ponty; Ricoeur; Blackface | eng_Latn | 18,272 |
A Reader's Beheading: Nabokov's Invitation and Authorial Utopia | “A Reader’s Beheading: Nabokov’s Invitation and Authorial Utopia” argues that Invitation to a Beheading polemically outlines Nabokov’s position on the relationship between reader and writer: in other words, that writing and reading are difficult, elite pursuits whose meanings should necessarily be available only to those willing to face and surmount the magician’s challenges. Narratively, it operates as a kind of roman a clef in which Cincinnatus C. follows a trajectory towards artistic freedom (or authorial utopia) where he is liberated from the constraints of poor readers—among them literalists and Freudians—while Nabokov, ever the unaccommodating creator, frustrates that progression with the help of a haphazard narrator. The novel is ultimately a statement of artistic intent, one that grants the pleasures of the author’s puzzles to a select few. Nabokov, it seems, would rather be a “violin in a void” than a popular author misused and abused by his audience. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,273 |
The Jesuit Myth: Conspiracy Theory and Politics in Nineteenth-Century France | Anti-Jesuitism the Restoration the July Monarchy the road to Article 7 structures, imagery and argument murder, money and spies Jesuits in plain clothes the confessor and the school history and morality Jesuits and Jesuitism. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | kor_Hang | 18,274 |
Hitting the Target and Missing the Point Is the United Nations Playing Games with the World's most Vulnerable? | This article examines the policy of using target-setting and measurement to deliver on the United Nations’ (UN) development goals. Using evidence from similar monitoring and management strategies in the United Kingdom (UK), we question the purpose of using process and outcome targets and suggest that this approach can be counter-productive. It can also lead to a situation where maintaining public relations and image is prioritised at the expense of making real impacts on key development issues. While the UN's aims are praiseworthy, we suggest that the somewhat simplistic methodology adopted is damaging to the very people that the UN is seeking to help. | From the earliest of times, human beings have lived in awe of the forces of Nature, and agonised over the (often) cruel edicts of Destiny and Fate. In the Quatrain quoted above, the great Muslim poet and mathematician Omar Khayyam, most eloquently, refers to this very conundrum. Why is there so much sorrow, pain, and (from a bio-medical perspective) disease, in this World of ours? The utterance: "What? did the Hand then of the Potter shake?" from the 'lips' of a Pot of Clay, sounds almost blasphemous. However, should we not forgive this unfortunate "Vessel of a more Ungainly Make" (abnormal / deformed / damaged), for its expression of this (apparently) sacrilegious sentiment? In the same vein, can a human being afflicted by some terrible disease, not cry out in anguish at the (apparent) injustice of the Divine Hand, in an attempt to find some semblance of meaning in apparent Chaos? | eng_Latn | 18,275 |
Counter-insurgency goes to university: the militarisation of policing in the Puerto Rico student strikes | This article presents a case study of the recent student strike at the University of Puerto Rico (held between 2010 and 2011) and the militarisation of the campus that followed. The strike has been a significant site of resistance to the imposition of neo-liberal structural adjustment in Puerto Rico (PR). The response to the strike by the Government of Puerto Rico and the university administration has been characterised by a range of highly repressive techniques of state violence, delivered under the guise of ‘counter-insurgency’. In other words, the ‘war on terror’ has been brought to the campus. Rather than this presenting an isolated case, more generally, counter-insurgency doctrine and practice has been central to the defence of neo-liberal structural adjustment in PR. There is an enduring tendency in counter-insurgency and counterterrorism strategies to depoliticise conflicts and deal with them in highly technicist/managerial terms. Yet, rather than representing a depoliticised struggle, the student ... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,276 |
Crack dancing in the United Kingdom: Apropos a video case presentation | We report an adult patient presenting with choreiform movements 4 days after a large intravenous dose of cocaine. These movements were transitory and they normalized a week after admission. We believe this to be the first video case of acute chorea secondary to cocaine—a phenomenon popularly known as “crack dancing. ” Cocaine abuse is associated with a wide range of movement disorders, including dystonia and exacerbation of Tourette's syndrome, multifocal tics, opsoclonus-myoclonus, choreiform movements, and stereotyped behavior known as “punding.” Transient choreiform movements with a typical duration of 2 to 6 days are recognized by cocaine abusers themselves as crack dancing, but are infrequently reported. We present a video report of a patient with cocaine dependency and choreiform movements that normalized within a week of admission. © 2007 Movement Disorder Society | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,277 |
Historical and Dialectical Relationship between Politics and Military——A New Study on the Concept of War in Huai Nan Zi | "politics and war" is the core proposition of war concept in Huai Nan Zi,whose fundamental principle is that the success and failure of war is determined by politics.The basic strategy is that politics is governed by morality and justice while military is controlled by politics,which reflects the historical fusion of Taoism,Confucianism and Legalism.This concept of war features a combination of politics and military and a reflection on the high politicization of war,which develops the thought of military school in pre-Qin Dynasties. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,278 |
‘Hippie Superannuated Leprechaun’: Waldo Salt, Screenwriting, and the Hollywood Renaissance | Drawing on a range of draft scripts, correspondences, notes, trade and mainstream press reports, this essay examines the career of screenwriter Waldo Salt in the years surrounding the development a... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,279 |
Angela's ashes : a memoir of a childhood | Special edition of the bestselling classic, to tie-in with the release of Alan Parker's major new film of Angela's Ashes Angela's Ashes is Frank McCourt's sad, funny, bittersweet memoir of growing up in New York in the 30s and in Ireland in the 40s. It is a story of extreme hardship and suffering, in Brooklyn tenements and Limerick slums -- too many children, too little money, his mother Angela barely coping as his father Malachy's drinking bouts constantly brought the family to the brink of disaster. It is a story of courage and survival against apparently overwhelming odds. Written with the vitality and resonance of a work of fiction, and a remarkable absence of sentimentality, Angela's Ashes is imbued on every page with Frank McCourt's distinctive humour and compassion. Out of terrible circumstances, he has created a glorious book in the tradition of Ireland's literary masters, which bears all the marks of a great classic. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,280 |
The construction of sanctity: pictorial hagiography and monastic reform in the first illustrated Life of St. Cuthbert (Oxford University College MS 165) | An examination of Oxford University's illustrated manuscript Life of St. Cuthbert, which can be dated to about 1100 in Durham. The writer asserts that the drawings in this work form a pictorial commentary on Bede's text, and that the decision to create an elaborate pictorial hagiography for St. Cuthbert must be understood in the context of the post-Conquest reform at Durham. She goes on to consider several images from the work in detail, with special bearing on the ideals of monastic life as embodied in the hagiographic personality of St. Cuthbert, as reinterpreted at the end of the 11th century by the newly reformed community at Durham. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,281 |
Inka Llajta : a case study of a music group from Cochabamba, Bolivia | The aims of this paper are to present a case study of a music group which was carried out during a fieldwork in the year 1991 in Bolivia and to make some reflections about the group. The main theor ... | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,282 |
'No one knows what will happen after these five years': narratives of ART, access and agency in Nigeria. | Rural Nigerians pursue a range of strategies to maximize current and future access to HIV treatment in the context of securing livelihoods and minimizing the social and economic risks of stigma. This study reports on qualitative interviews with service providers and anti-retroviral therapy (ART) patients accessing care in Benue State, Nigeria, or travelling several hours to Abuja for treatment (n = 34). Nigerians living with HIV are keenly aware of the fragility and complex global and local politics of funding. Their narratives of pervasive stigma, economic and health system barriers to access, growing fears that free ART will cease, and strategies to secure access to care reveal a sophisticated synthesis of social determinants of health and clinical care, and challenge practitioners, planners, and scholars to take a similarly robust and nuanced approach to vulnerability, access, and agency. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,283 |
James Bond: International Man of Gastronomy? | This chapter is concerned with the representation of food and drink in Ian Fleming’s James Bond novels. In particular, it examines how the author uses Bond’s culinary knowledge and habits of consumption as an important constituent of his hero’s character. Similarly, the food choices of other characters, notably villains, are shown to be linked, by Fleming, to core aspects of their identity—principally their ethnicity. Bond’s impulse to observe and classify, very much in evidence in the novels’ food sequences, is examined in terms of the texts’ construction of Bond as a skilled identifier of signs. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,284 |
Mixed Bag: A review of Frans de Waal’s The Ape and the Sushi Master: Cultural Reflections of a Primatologist | Frans de Waal challenges the belief that only humans manifest cultural transmission and asserts that because apes also do, human distinctiveness is seriously undermined. de Waal emphasizes the importance of social learning for ape culture. Issue is taken with de Waal’s intentional stance regarding nonhumans and his negative, erroneous characterizations of aspects of behaviorism. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,285 |
“Hands Behind Hands”: Seeing the Dead | This chapter discusses the omnipresence of the dead in Hardy’s poetic world. The dead are ever around, and their continued presence is potentially consoling, as in traditional elegy. At the same time, the perpetual existence of the dead might create anxiety, a constant shadow that renders life meaningless. In this respect, Hardy is far from being a consistent advocate of the preservation of memory. Yet he does not share modern elegy’s often direct confrontation with the finality of loss either. His depiction of mourning and grief lies in between modern and traditional attitudes. Interrogating psychological mechanisms of denial, Hardy consciously treats the fantasy about death’s unreality and reversibility as an artistically and emotionally productive, albeit ambiguous, device. | Through this article the author presents an experimental collage about the experiment of writing and its relation to the analogies of kinship—an enactment of folk phenomenology. | eng_Latn | 18,286 |
Augustine's Paradigm 'ab exterioribus ad interiora, ab inferioribus ad superiora' in the Western and Eastern Christian Mysticism | I argue that St. Augustine of Hippo was the first in the history of Christian spirituality who expressed a key tendency of Christian mysticism, which implies a gradual intellectual ascent of the human soul to God, consisting of the three main stages: external, internal, and supernal. In this ascent a Christian mystic proceeds from the knowledge of external beings to self-knowledge (from outward to inward), and from his inner self to direct mystical contemplation of God (from inward to higher). Similar doctrines may be found in the writings of the Greek Fathers (Great Cappadocians, Dionysius the Areopagite, Maximus the Confessor, etc.). Although there are many similarities in the overall doctrine and in particular details between them, it does not imply the direct impact of Augustine’s theological thought on the Greek Fathers but rather the influence of the Neoplatonic philosophy on both Western and Eastern Christianity, in particular, of Plotinus’ theory of intellectual cognition. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,287 |
Can Cool Japan save Post‐Disaster Japan? On the Possibilities and Impossibilities of a Cool Japanology | This article considers Cool Japan in light of catastrophe, first theoretically through a phenomenological analysis of Cool Japan and Cool Japanology, suggesting that the study of Cool Japan itself is way of uncooling the object of inquiry, itself a reaction to the apocalyptic realities of everyday life since the dawn of the modern world. The article finishes with a sociological reflection on current events through a detourner of the sekai kei genre in Summer Wars' inclusion of two sociological types in its rendition of catastrophe. This article then is intended as a preliminary step to understanding the specificity and commonalities of Japanese cool power through an understanding of the phenomenon of cool and the contents to which cool often refers. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,288 |
Deep Change?: Burmese Wall Paintings from the Eleventh to the Nineteenth Centuries | This article will compare the narrative constructions of early (eleventh to thirteenth centuries) and late (seventeenth to early nineteenth centuries) Burmese wall paintings to determine whether or not "deep change" has occurred. Although many of the same stories were depicted in the murals during both time periods, the method by which the visual stories were portrayed changed from an emphasis upon iconic imagery to an exploration of narrative process. By analyzing the narrative modes employed during the two periods, the emphases of each are revealed. The changes that occurred in the Burmese murals most likely relate to the increasing orthodoxy of Burmese Theravada Buddhism and strengthening crown control over the country. Because the teleological purpose of the murals remains virtually identical, however, it is argued that no "deep change" occurred in the murals between the eleventh and nineteenth centuries. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,289 |
Marx et l’élaboration du concept de nature dans la philosophie de Merleau-Ponty | This paper aims at exploring the field of relations between Merleau-Ponty and Marx. Re-reading the unpublished texts from the 1940s and 1950s, the intention is to demonstrate that Merleau-Ponty uses The Economic and Philosophic Manuscript of 1844 not only in a political way, but also in a philosophical way. In an original interpretive approach concerning the question of Nature, the paper seeks to demonstrate that this conception suggests that Marx takes on a new place in the development leading from a phenomenology of perception to an ontology of Nature, particularly in the lectures at the College de France in 1956. At the end of this paper, the emphasis is placed on Merleau-Ponty’s attempt to build a new philosophy of action and History, based upon this analysis of Nature. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | fra_Latn | 18,290 |
Lectures culturelles de la Bible dans les pays de langue anglaise | The Bible has penetrated the culture of English-speaking countries in many ways. From Robinson Crusoe who enchanted the middle classes at the beginning of the 18th century up to the Methodist hymns, from the struggles of the working-classes in the 19th century to the pop culture and feminist claims at the end of the 20th century, from the Mayflower pilgrims to the political speeches of today's United States, succeeding generations and different social classes borrow from the Bible its messages and images, its style and its vocabulary. Faced with this continuity and this diversity, a question arises: is the biblical text being used as an instrument for ideas which are foreign to it? Faced with cultural convictions and received models of social behaviour, is the text left on the contrary to act as a challenge, a source of unexpected inspiration?. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | fra_Latn | 18,291 |
On Adjustments about American Military Strategy since 2009 | It is not only a kind of adjustments in method of operations in American military strategy,but also a kind of changes about strategic idea Since 2009.The adjustment has something to do with new changes of war situations,and it is related to American strategic cultural fundament too.To American Army,on the surface,the transform is directed to Combatzone,but in reality,it is directed to the overall war situation. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,292 |
Self-Monitoring, Trust, and Commitment in Romantic Relationships | Abstract This study examined the relationship between self-monitoring and trust with a focus on commitment among college students in the United States. Both partners in 38 heterosexual dating couples filled out questionnaires that included the Self-Monitoring Scale (M. Snyder, 1974) and the Trust Scale (J. K. Remple, J. G. Holmes, M. P. Zanna, 1985). Findings indicated that there was a significant positive correlation between the self-monitoring scores of the dating partners. Those couples consisting of 2 high self-monitors were significantly less likely to believe that they would marry their current partners than couples that included at least 1 low self-monitor, and they scored significantly lower on the subscale of the Trust Scale that assessed continuing commitment to the relationship. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,293 |
Still the Heart of Darkness: The Ebola Virus and the Meta-Narrative of Disease in The Hot Zone | Abstract“Still the Heart of Darkness” analyzes Richard Preston's best-selling account of an Ebola virus outbreak in Reston, Virginia in 1989. Through a textual examination of The Hot Zone, this essay demonstrates how Preston grounds his narrative about the threat of rare emerging viruses from the third world in terms of the colonialist discourse about Africa as “the white man's grave,” most notably Joseph Conrad's Heart of Darkness. By foregrounding previous outbreaks in Africa, Preston simultaneously darkens its landscape and inscribes the Ebola filovirus as an external biological threat to Americans in a post-Cold War world with porous borders. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,294 |
Pregnancy Depression from a Gender Perspective | There is a significant number of pregnant women who eventually have some kind of psychiatric symptoms during pregnancy. This is a period that involves significant biological, psychological, and social changes. In this chapter, we review this issue in its entirety, examining in detail how gender roles and social models of maternity/paternity may contribute to the development of gestational depression in women. We also review the different treatments used. Finally, we include a section focusing on the father figure from the same perspective and emotional disorders that he could also have in this process. | Iceberg, bread, tunny was an installation in “From Floor to Sky: British Sculpture and the Studio Experience” curated by Peter Kardia,and held in London. Each artist was asked to submit one student's work and one current work. ::: Julie Myers said of my work that the video “felt like I was seeing a landscape through the eyes of another person - not just because its hand held - but it really is a moving image - the edits were perfect . . . and I loved the combination of objects, drawings and video in the space...”, Colin Perry (Art Monthly, April 2010) commented “From the late 1970’s, the influence of Lacan and a host of feminist and post-structural thinkers would confront the watching eyes of the male gaze. Meynell’s Diary, 1983, which incorporates photographs and found objects (rank hair from the bath plug, dried clove buds), seeks to redirect the image of women’s bodies away from the male gaze.” | eng_Latn | 18,295 |
A Revolutionary Crucible: French Radicals, Foreign Expatriates, and Political Exiles in the Paris Commune | University of Minnesota Ph.D. dissertation. September 2014. Major: History. Advisor: M.J. Maynes. 1 computer file (PDF); iv, 331 pages. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,296 |
Dumb O Jemmy and Others: Deaf People, Interpreters and the London Courts in the Eighteenth and Nineteenth Centuries | This article reviews eighteenth- and nineteenth-century proceedings of the London Central Criminal Court (Old Bailey) that involved deaf people. The use, role, and status of sign language and interpreters in these settings are described. These proceedings provide important information about deaf people's experiences within the court system of the time and insight into their communication during this era. Moreover, they illuminate attitudes toward deaf people in the period immediately before and after the creation of schools for deaf children in Britain. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,297 |
Cessation of the artificial delivery of food and fluids: defining terminal illness and care. | Abstract The authors argue that those permanently unconscious are by definition terminally ill and suffering from a fatal pathology, because medical treatment in their cases will not lead to a restoration of health and will prolong the dying process. They include, as medical treatment, the artificial provision of sustenance and hydration and argue that this intervention is optional when it is useless for returning the person to cognitive/ affective activity or when it is burdensome. Finally, they analyze the notion of care and argue that even when the artificial delivery of sustenance is considered to be care (wrongly, in their view), it can still be legitimately refused or withdrawn when it becomes unduly burdensome. | As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma. | eng_Latn | 18,298 |
Achives of Pathos. Image and Survival in Ernesto De Martino's interdisciplinary ethnography | By focusing on part of the iconographic production of Italian anthropologist Ernesto De Martino in the 1950s, this article proposes to sketch his objects of study through an insistence on their historiographical value. Within this context, the crises of possession triggered by the Arachnida bites function as so-called "folkloric-religious relics" of Tarantism, and thus come to be considered by the anthropologist as "surviving documents" of a tension between memory and oblivion. Not only does this open the door to a discussion on the relation between the archive and the discipline of anthropology, but also of the archival logistics behind various forms of pathos (close to Aby Warburg's notion of Pathosformel). These can be traced through the study of key elements of ritualistic mediation. This article investigates the "tools", such as photographic and filmic imaging devices, by which De Martino sought to contribute to a research on "survivals". | Introduction to the September 2010 issue of the online ethics journal, Virtual Mentor, on the theme of natural disasters, quarantine, and public health emergencies. Virtual Mentor is a monthly bioethics journal published by the American Medical Association. | eng_Latn | 18,299 |
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