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Image of Female: A Comparative Study of The Book of Songs and Guangxi Folksongs | From the Song of Wind in the Book of Songs and the folk songs in Guangxi, the article studies the marriage cultural similarities and differences between Mid-China and Guangxi during the period from Xi-zhou Dynasty to the Spring and Autumn Annals (770B.C.-476 B.C.), which present different images of female. | 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 | 18,300 |
Sketches with texture: montage renderings are a quick, elegant way to get an idea across | On landscape architect Raymond Jungles and the influence of Burle Marx on his work. Features two residential gardens. Photos and comments on Jungles' favorite tropical plants and palms. | 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 | 18,301 |
Secure Perceptual Hashing Scheme for Image using Encryption | A perceptual image hash function maps an image to a short binary string based on an images appearance to human eye. This paper proposes a theoretical analysis of full perceptual hashing systems that use a quantization module followed by a crypto-compression module. Finally, several experiments are conducted to validate the approach, by Gaussian noise and JPEG compression. Finally the image is encrypted using secret key called SHA-I (Secure Hash Alogorithm−1) of128 bits. | This essay begins with the impossibility of thinking back, or at least of conscious memory, and the need to fix on a fragment, before unconscious memory may emerge as inscription. I then follow the intuition of a link, contained in the cover image of Malcolm Bowie's book Freud, Proust, Lacan: Theory as Fiction, between fictions which theorize and the apparition of the feminine as a haunting incompleteness. It is suggested that such apparitions may be read — like the image in Plato's chora, as read by Pierre Fedida — as a surviving trace, hovering phantom-like between reminiscence and existence. As such, the image might be seen not only as the impense of theory, producing in texts auratic moments which condense signifiers of present encounter and lost memory trace, but furthermore as the unthinkable feminine negative of masculine pursuit, returning us quite simply to a nodal point of silent gazing. | eng_Latn | 18,302 |
The Future of Liberal Multiculturalism | type="main"> This article considers the role and relevance of liberal multiculturalism in contemporary political theory. Liberal multiculturalism is a form of multiculturalism that emphasizes group-specific rights for minority groups within a liberal framework. Minority protections are adopted to secure basic liberal rights. The article first reviews Will Kymlicka's formulation of liberal multiculturalism; Kymlicka's work receives focus here as he provides the standard liberal multiculturalist position. The article then moves to exploring responses to the position. First I explore liberal responses and second I look at a recognition-based approach. In the final section the article provides a brief response to both of these critiques. I find that the liberal criticisms are overstated and that recognition-based approaches can help identify a possible way for liberal multiculturalism to respond better to the claims of minorities. | 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 | 18,303 |
Comprar Oncoplastic Surgery of the Breast with DVD | Maurice Y Nahabedian | 9780702031816 | Saunders | Tienda online donde Comprar Oncoplastic Surgery of the Breast with DVD al precio 164,85 € de Maurice Y Nahabedian, tienda de Libros de Medicina, Libros de Cirugia - Cirugia oncologica | 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 | 18,304 |
Building Without a Foundation. The Equation of Enlightenment with Skepticism in Post-revolutionary French Thought | Most nineteenth century French philosophers had a view of the Enlightenment as inherently skeptical. The reason for this is to be found in the trauma provoked by the experience of the Terror. Indeed, they held modern philosophy responsible for the destruction of old beliefs; to them, it expressed a kind of aggressive nihilism, a negative dogmatism that was much more dangerous than religious fanaticism. Their equating of the Enlightenment with skepticism led the nineteenth century French philosophers to elaborate a new science of society that made it possible to understand how the social reality contains its own species of rationality. | 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 | 18,305 |
Observations on the French Theory of Crime from a German Perspective | The paper analyzes the French doctrine of crime from a German perspective. It identifies seven possible structures containing the different constituting elements of crime. There is controversy as to the contents and systematic location of the legal and moral elements as well as to the existence of an autonomous element of wrongfulness. An autonomous category of culpability is not recognized. There are certain similarities with regard to the German doctrine, e.g. as to the possible distinction between a subjective and a moral element, comparable to the (post)finalist distinction between psychological intent and normative culpability. | 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 | 18,306 |
Improving reality. An analysis of Spanish makeover reality television | The main aim of this paper is to identify the values conveyed by Spanish makeover reality television. There are two aspects that make these programmes relevant study objects: first, their widespread pres- ence in Spanish television schedules, and second, the role they play in con- structing the social imaginary due to their didactic and prescriptive nature. We analysed six Spanish makeover reality shows, Cambio Radical, Desn- udas, Esta casa era una ruina, Supern- anny, Hermano Mayor and Ajuste de Cuentas, using a methodology that combines narrative semiotics and the analysis of narrative form (plot/ syhuzet) and audiovisual style. This paper summarises the main research results and conclusions of a doctoral thesis presented in September 2010. | The article introduces the teaching reformation focusing on course project of power engineering detection and control technology, and discusses the new reformation in the future. | eng_Latn | 18,307 |
Esoteric and Exoteric Images of Islam | Akbar S. Ahmed. Discovering Islam: Making Sense of Muslim History and Society. London: Routledge and Kegan Paul, 1988. + 251 pp. £25.00 (cloth). | 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 | 18,308 |
Facets of morbid jealousy: With an anecdote from a historical Tamil romance | Morbid jealousy is a symptom which occurs in many psychiatric conditions. The complex emotional aspects of jealousy have been discussed by earlier authors. The clinical, cultural, social, and forensic aspects, are touched upon. Morbid jealousy is a favourite topic among novelists and dramatists. Othello is a classic example. This topic is covered in one of the famous historical romances of the Tamil author, Kalki. | 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 | 18,309 |
Terorizmo sociopsichologiniai ypatumai | The purpose of this study is to focus attention on the types of individuals and groups that are prone to terrorism in an effort to understand better the terrorism phenomenon. The study examines the relevant literature and assesses the current knowledge of the subject. The study seeks to describe theories of terrorism and psychological profiles of foreign terrorists individuals and selected groups. The article also deals with assessing the latest literature on psychological aspects of terrorism, including the newest findings on terrorists decision-making process, cognitions, and personality. | L'A. propose d'evaluer la vision de von Balthasar au sujet de la contribution de Maitre Eckhart a la tradition theologique. Cette evaluation se fait a partir d'un groupe de cinq elements: la disposition esthetique, la similitude entre l'etre et Dieu, l'absence de mise en question du divin, la serenite, la naissance de Dieu. Chaque groupe amene une double lecture. La premiere confirme et renforce le point de vue d'Eckhart. La seconde pose de serieuses questions sur leur inclusion dans la tradition chretienne a la lumiere des principes chretiens | lit_Latn | 18,310 |
The 1987 Walter Hubert lecture: Regulation and deficiencies in DNA repair* | A number of rare human inherited syndromes are associated with apparent defects in DNA repair and a greatly increased frequency of cancer. Cell lines derived from such individuals phenotypically resemble certain bacterial mutant strains that have increased sensitivity to radiation or chemical agents and well characterised repair defects. This analogy provides leads for unravelling the molecular alterations in such cancer-prone human cells. The inducibility of DNA repair enzymes is also reviewed. Exposure of bacteria to alkylating agents, or oxygen radicals, causes the overproduction of several novel and interesting repair activities, and the induced bacteria provide an abundant source of these proteins for purification and biological characterisation. Enzymes with the same defined specificities are often present in human cells, presumably serving the same functions as in microorganisms, but these activities are only constitutively expressed at low levels. | 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 | 18,311 |
American Ex-Prisoners of War correspondence concerning death notifications. | The collection contains POW cemetery records and one booklet, a memoir entitled "To D-Day and Back" by Robert L. Bearden. | 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 | 18,312 |
Book Review: The Making of the Goddess: Korravai–Durga in the Tamil Traditions: | R. Mahalakshmi,The Making of the Goddess: Korravai–Durga in the Tamil Traditions, Penguin Books, New Delhi, 2011, pp. 409, ₹499. | 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 | 18,313 |
[Botulinum toxin: the misguided path]. | Botulinum toxin is widely used and has become a popular mass phenomenon in aesthetic medicine. Considerable scientific data concerning the biopsychosocial impact of botulinum toxin use have become available. The bidirectional interaction of mimic and emotion, described as the facial feedback hypothesis, is particularly influenced, as is mimicry. Furthermore, botulinum toxin can cause dysfunction of face harmony including false laughing or the "frozen face". As a result, complex psychosocial disturbances can occur and may affect social interaction and cause flattening of affect. Thus one must ask whether in the future botulinum toxin will continue to be employed in aesthetic dermatology or perhaps be regarded as a misguided path. | 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 | 18,314 |
The Oxford chronology of English literature | PREFACE BY CHRISTOPHER RICKS INTRODUCTION EDITORIAL TEAM USING THE CHRONOLOGY ABBREVIATIONS CHRONOLOGIES 1474-2000 INDEX OF AUTHORS INDEX OF TITLES INDEX OF TRANSLATED AUTHORS | 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 | 18,315 |
Television, madness and community care | This paper describes the forms and contents of television representations of mental illness in the UK in 1992. The theoretical framework is provided by Moscovici's theory of social representations and some modifications are proposed for the case of madness. Quantitative and qualitative methods are used in the empirical analyses. It is shown that madness has multiple meanings on television, while at the same time violence is commonly included. It is also suggested that a partial reconfiguration of the representational field has taken place in recent years. Media stories about the responsibility of the policy of community care for scandals and tragedies are now commonplace. © 1998 John Wiley & Sons, Ltd. | The psychosocial and biological factors placing young people at risk of offending and of developing mental health problems are well established in the international literature. A recent series of epidemiological, demand and needs surveys reveal a lack of appropriate services to meet the needs of you | eng_Latn | 18,316 |
Afrika'da Sinema Serüveni ve Cinéma Beur Akımı | The term African cinema refers to films made by directors from countries of Sub-Saharan Africa where French is spoken. However Egyptian, Moroccan and Algerian cinemas are usually called Arab cinema. A part from that, we can include the directors of Diaspora, too. Arabic film directors who live in France have created a new cinema movement expressing their problems of adaptation to French community. This cinema trend is called Cinema Beur and the word beur is inverse form of the word Arab in French. The object of this paper is to highlight the history of film making in Africa and the meaning of Cinema Beur as a cinema trend formed by immigrant Africans. | ABSTRACTAfrican American individuals living with HIV and serious mental illness (SMI) may report relatively low treatment engagement, despite treatment engagement being critical to managing both he... | tur_Latn | 18,317 |
Feeling Yellow: Responding to Contemporary Yellowface in Musical Performance | Abstract:When encountering non-Asians masquerading as Asians in yellowface in twenty-first-century stage musical performances, Ifeel righteously angry, profoundly sad, and racially alienated. Yet musical theatre promises pleasure and enables the disavowal ofcomplicity with systemic racist violence, as patrons, performers, and producers use their enjoyment to rationalize racial hierarchy. How does racial identity shape reactions to musicals? In turn, how do these reactions shore up and take down structural racism? This article theorizes "feeling yellow, "how Asian Americans are moved and made in response to representation. Though grounded in racial inequality and difference, feeling yellow ultimately wields the potential to generate new pleasures by using feminist queer of color critique to redistribute misery and form communities of fellow feeling. | 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 | 18,318 |
Stepan Bandera: The Life and Afterlife of a Ukrainian Nationalist: Fascism, Genocide, and Cult | Preface and AcknowledgmentsList of AbbreviationsNote on Language, Names, and TransliterationsIntroduction1. Heterogeneity, Modernity, and the Turn to the Right2. Formative Years3. Pieracki's Assassination and the Warsaw and Lviv Trials4. The "Ukrainian National Revolution": Mass Violence and Political Disaster5. Resistance, Collaboration, and Genocidal Aspirations6. Third World War and the Globalization of Ukrainian Nationalism7. The Providnyk in Exile8. Bandera and Soviet Propaganda9. The Revival of the Cult10. Return to UkraineConclusionGlossaryBibliographyIndex | 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 | 18,319 |
Slave Labor and Chocolate in Brazil: The Culture of Cacao Plantations in Amazonia and Bahia (17th–19th Centuries) 1 | This article will explore the origins of commercial cacao production in Brazil, specifically as it is linked inseparably to compelled human labor—first of Native Americans employed in the Amazon rainforest and later of Africans imported for regimented plantation fieldwork in Bahia state. Coerced or enslaved labor, both Native American and African, produced almost all the cacao exported from Brazil until the latter quarter of the 19th century. Although never used on the same scale as that employed on sugar and tobacco plantations, slave labor would play an important role in the creation of Brazil's cacao fortunes until the implementation of the abolitionist “Golden Law” in 1888. Even after chattel slavery's de jure demise, exploited and coercive labor practices remained common on Brazil's cacao plantations. This article will consider such topics as: working conditions of slaves and exploited laborers on cacao plantations in Brazil; the chronology, volume, and impact of the slave trade into Brazil; producti... | AbstractSince its release in 1997, Aleksei Balabanov’s film Brother (Brat, 1997) has been the source of numerous analyses examining its promotion of post-Soviet Russian values and xenophobia. This article will offer an alternative, but complementary, discussion of Brother’s contribution to the construction of a stable post-Soviet Russian identity by presenting the film as an example of Balabanov’s measured nostalgia for the lost freedoms of perestroika. In particular, this article demonstrates how Balabanov selectively evokes and inverts prominent elements of chernukha films and films about youth from the 1980s. This allows the director to position the protagonist, Danila, as an inheritor of perestroika’s ills, but also as a figure who supersedes the negative aspects of Russia’s recent past. However, the film also extensively references Balabanov’s own experiences as a member of the underground rock scene in Sverdlovsk during perestroika, embodying the director’s nostalgia for this era. The film serves as... | eng_Latn | 18,320 |
The Shore (2011): Examining the Reconciliation Narrative in Post-Troubles Cinema | This chapter considers the promotion and reception of the Northern Ireland set Oscar-winning short film The Shore (2011) and its employment within the post-Belfast/Good Friday Agreement reconciliation discourse. Film is one of the most revelatory sites to view how this discourse has been formulated and circulated, evident particularly in the recurring focus on filiative reconciliation, operating at the level of the family rather than society, within cinematic texts. Cinema also suggests the failure of this discourse to engage with the real underlying and unresolved issues in the post-Agreement context. Indeed, film has tended to obscure and elide these fundamentals, producing ultimately utopian depictions, often revealing a touristic gaze, for mass consumption. In this respect, The Shore is a remarkable rendering not so much of either Northern Ireland or the post-Troubles context, but of the dominant representational paradigms within depictions of Ireland itself. | In their target article Kalisch et al. provide an appraisal-based model to explain resilience from stress. We posit that for their model it is crucial to understand the begin-state φ, a state that is shaped by early social thermoregulation and through the social network. | eng_Latn | 18,321 |
'It's the Autonomy, Stupid!' A Modest Defense of Opinion 2/13 on EU Accession to the ECHR, and the Way Forward | Opinion 2/13 of the Court of Justice of the European Union (striking down the Draft Agreement on accession to the European Convention on Human Rights) has evoked widespread “outrage.” The Court’s Opinion is generally derided as “unsubstantiated,” purely “self-interested,” and “playground politics.” This Article disagrees with that assessment. The Article provides the first comprehensive legal analysis and constitutional reconstruction of the Opinion’s many objections to show why the Court’s concerns are mostly warranted. At the same time, however, the Article explains why accession to the ECHR is not only important for human rights, but also vital to save the European Union itself. Finally, the Article points the way forward by identifying the changes that must be, and can be, made to allow accession to proceed. | 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 | 18,322 |
‘We Should not Content Ourselves with a Sham’: The US Foreign Service and the Central American Elections of the Early 1930s | Scholars have paid considerable attention to the connection between Washington's withdrawal from intervention and the emergence of dictatorship in Central America during the 1930s. The current article seeks to enhance our understanding of those interconnected developments through the investigation of the US Foreign Service and its role in the early 1930s presidential campaigns in Guatemala, El Salvador, and Honduras. It shows that the dynamic interaction between actors in both Washington and Central America set in motion a process that would produce decades of authoritarian rule in the isthmus. | 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 | 18,323 |
Going into the 21St century: a perspective on trends and controversies in the management of the American black bear | Abstract We surveyed 52 jurisdictions across continental North America to gather comparative information on management strategies for American black bear (Ursus americanus) for the late 1980s and the start of the 21st century. Specifically, we asked about: population estimates and targets, harvest objectives and hunting methods (spring hunt, use of bait, use of dogs), hunter and harvest data, and trends in human–bear conflicts. Most population estimates were derived through a subjective process of extrapolation and expert opinion and were used as the basis for adjusting management practices. In 17 jurisdictions that had spring hunts, estimated black bear populations increased by 6%, compared to a 51% increase in the 21 jurisdictions with fall-only seasons. Estimated populations increased by 87% in the 14 jurisdictions without hunting seasons. Another 10 jurisdictions had reports of occasional transient bears but no resident population. Jurisdictions with liberal hunting regimes tended to maintain human–be... | 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 | 18,324 |
Lesbian, Gay, Bisexual and Trans-sexual: Commercial Sex | Forms of commercial sex extend beyond prostitution to include a broad range of businesses that produce sexual goods and services; many of these cater to a broader range of sexual predilections, and include Lesbian, Gay, Bisexual, Transgender, and Intersex (LGBTI) consumers among their clientele. This article provides an overview of the shifting attitudes toward and culture of LGBTI commercial sex, and how the placement and access to LGBTI commercial sex within Western jurisdictions cannot be considered a simple response to patterns of supply and demand, but rather as the outcome of complex interactions of moral codes, legal structures, and other forms of regulations. | 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. | ast_Latn | 18,325 |
Ethics in armed conflicts some principles developed by the French army | This article aims to present some principles developed by the French Army at the light of Ethics in Armed Conflicts. We approach the principle of strategic autonomy, in which the French policy on security and defense is based. Sovereignty-related aspects and international compromises made by France are also highlighted. Special attention to the International Organizations, especially the UN, is given. | 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 | 18,326 |
The 'Mary Play': From the N. Town Manuscript | Preface Introduction The Manuscript Language and Place Metre, Language and Style 9 Dramatic and Social Contexts Teaching The Treatment of Sources Staging Bibliography Editorial procedures The Mary Play Notes Appendices Glossary List of proper names and dramatis personae List of Latin words, phrases, etc. in text and stage directions | 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 | 18,327 |
VASECTOMY REVERSAL FOR THE POST-VASECTOMY PAIN SYNDROME: : A CLINICAL AND HISTOLOGICAL EVALUATION | Purpose: The cause of the post-vasectomy pain syndrome is unclear. Some postulated etiologies include epididymal congestion, tender sperm granuloma and/or nerve entrapment at the vasectomy site. To our knowledge nerve proliferation has not been evaluated previously as a cause of pain. Vasectomy reversal is reportedly successful for relieving pain in some patients. We report our experience and correlate histological findings in resected vasal segments with outcome to explain the mechanism of pain in these patients.Materials and Methods: We retrospectively reviewed the records of 13 men who underwent vasectomy reversal for the post-vasectomy pain syndrome. We compared blinded histological evaluations of the vasal ends excised at vasectomy reversal in these patients with those of pain-free controls who underwent vasectomy reversal to reestablish fertility. Controls were matched to patients for the interval since vasectomy. Histological features were graded according to the degree of severity of vasitis nodos... | Book synopsis: The essays republished in this new edition of Laura Mulvey's 1989 collection Visual and Other Pleasures reflect the high optimism of the Women's Movement in the 1970s, its engagement with Hollywood melodrama, psychoanalytic theory and avant-garde film. In an extensive new introduction, Mulvey looks back at the origins of her groundbreaking article 'Visual Pleasure and Narrative Cinema' (originally published in Screen in 1975) and reflects on its historical and autobiographical contexts. She reassesses her 1975 theories in the light of her more recent work on the impact of new technologies, particularly the digital, on film spectatorship. This edition also includes a previously unpublished essay in which Mulvey discusses images and narratives of the 'young modern woman' of the 1920s, through examples of films made both in Hollywood and Europe, and looks at their relevance for feminist film theory. | yue_Hant | 18,328 |
Analysis of Visual Language Characteristic in Logo Design | Logo develops from primeval signs, totem to present logo with modern significance that is protected by law, and it is a result of human civilization, development of commodity production and exchange. In the process of long history of the development, visual language characteristic of logo also changes. | The aim of this text is to reflect on the research that has been done on the Brazilian literature, by considering two complementary aspects, in spite of their difference in relation to type and scope. The first is the current discussion on the separation, of Literature and Linguistics, which was done by CAPES in order to evaluate both post-graduate programs. The second is the attempt to know the theories and research lines related to the literary studies, in order to discuss introductorily their role and the academic perspectives they contain. | eng_Latn | 18,329 |
The Relationship Between Expressive Portrayal and Presentation of Spirit Through Appearance——The Analysis on Gu Kaizhi′s Aesthetic Theories in Painting | Gu Kai-zhi,a famous esthetician of painting during the Dong Jin period,presented two propositions of expressive portrayal and presentation of spirit through appearance.The meaning of expressive portrayal is to understand the inner spirit of object in the stage of aesthetic design by breaking through its extrinsic body′s restraint,while the meaning of presentation of spirit through appearance is to attach importance to the natural form and to show the inner spirit of artistic image in the stage of aesthetic creation.These two aesthetic theories,embodying the transforming relationship between aesthetic design and aesthetic creation,are the aesthetic expression and the aesthetic pursuit to Gu Kaizhi in different stages of human painting. | The essays published in this series are sorts of autobiographies by academic economists about their scientific motivations and their professional life. This will also be the case here. I shall make an honest attempt at taking a philosophical stance and considering economics from the two standpoints of ethics and methodology, the only realms of philos ophy about which I have definite ideas on how to apply them in my field. I shall try to avoid as much as possible repetitions of details, reported in what I wrote not so long ago about my main contributions to our discipline for a series of "recollections on professional experience" (Malinvaud, 1987). This essay is not the place for lengthy arguments for my ethical or methodological positions, which a philosopher would find neither original nor deeply rooted in anything other than the environments in which I was born, grew up, and worked. Thinking that these environments may be unfamiliar to American readers, I shall briefly characterize them when necessary. | eng_Latn | 18,330 |
Protecting Children's Rights: "I Want to Live with BOTH Daddy and Mommy.". | Counselors and teachers can promote children's rights to nurturance and self-determination by encouraging parents to respect children's desire to live with both parents after divorce. | 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 | 18,331 |
Commentary: An Oxfam America Perspective on the Doha Development Agenda | An Oxfam America commentary on the Doha Development Round.Gawain Kripke is Senior Policy Advisor on international trade issues with Oxfam America, based in Washington, DC. He directs the policy work of the organization's Make Trade Fair campaign, which aims to change unfair trade rules so that international trade can become a powerful force for reducing global poverty. Kripke has authored numerous opinion pieces and briefing papers on trade and development issues. He has testified before Congress and appears frequently on radio and television programs, including Marketplace, CNN, National Public Radio, and BBC World News. Prior to joining Oxfam, Kripke served as Director of Economic Programs for the environmental organization Friends of the Earth. He holds a B.A. in Government from Harvard College. | 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 | 18,332 |
Criticism of African Art and Literature | 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. | ABSTRACTAfrican American individuals living with HIV and serious mental illness (SMI) may report relatively low treatment engagement, despite treatment engagement being critical to managing both he... | eng_Latn | 18,333 |
Comprar Morgan and Mikhail's Clinical Anesthesiology, 5th edition | John F. Butterworth IV | 9780071627030 | MCGRAW HILL | Tienda online donde Comprar Morgan and Mikhail's Clinical Anesthesiology, 5th edition al precio 99,75 € de John F. Butterworth IV | John F. Butterworth, IV, tienda de Libros de Medicina, Libros de Anestesiologia, Dolor y Reanimacion - Anestesiologia y Reanimacion | Preface 1. Introduction Part I. Judith: 2. Scope and setting 3. The idea 4. The temper of negation 5. God and nature 6. Sleep and dreams 7. Character portrayal by image 8. The Bible and the Apocryphal Book of Judith Part II. Maria Magdalene: 9. Expository motifs 10. The balance-sheet 11. The emotional temper 12. Ambivalent communication Part III. Agnes Bernauer: 13. The background 14. The concentric setting 15. Variations on the Theme of Death 16. Biblical motifs 17. The symbolism of reality 18. Variations on the Christ Motif in other works of Hebbel Bibliography Index. | yue_Hant | 18,334 |
The Language(S) Of The Kingdom: From Aramaic To Greek, Galilee To Syria, Oral To Oral-Written | This chapter makes some initial forays into the first move that Jesus movements made, from Galilee into Syrian areas, from Aramaic into Greek, and from the early stages of oral communication in Galilean Aramaic to oral-written composition-and-performance in Koine Greek. Can we learn anything from investigations into a possible but ill-defined Aramaic linguistic and cultural substratum and from comparisons of that substratum with our Greek texts that might shed further light on the development of Gospel traditions into what we now have as written Gospels? The investigation proceeds in four steps: the historical political power-relations that determined the general language situation; the use of languages in Syria and Galilee; the largely oral communication environment; and finally an exploratory probe for Aramaic influence in one of the speeches in Q. Keywords: Aramaic substratum; Galilee; Koine Greek; oral-written composition | ABSTRACTPublic health efforts focused on Latina youth sexuality are most commonly framed by the syndemic of teen pregnancy and sexually transmitted infections, a narrow and often heteronormative focus that perpetuates silences that contribute to health inequities and overlooks the growing need for increased education, awareness, and support for lesbian, gay, bisexual, transgender, and questioning (LGBTQ) youth. This article presents findings from the project Let’s Talk About Sex: Digital Storytelling for Puerto Rican Latina Youth, which used a culturally centered, narrative-based approach for analyzing participants’ own specifications of sexual values and practices. The strength of digital storytelling lies in its utility as an innovative tool for community-based and culturally situated research, as well as in its capacity to open up new spaces for health communication. Here we present two “coming out” case studies to illustrate the value of digital storytelling in supporting the development of meaningful... | kor_Hang | 18,335 |
The Throne Visions of Daniel 7, 1 Enoch 14, and the Qumran Book of Giants (4Q530): An Analysis of Their Literary Relationship | In Dan 7:9–10, the apocalyptic seer narrates his vision of God's heavenly throne. According to most scholars, Daniel's vision account depends literarily on the supposedly more primitive visionary traditions found in 1 Enoch 14 and the Book of Giants of the Dead Sea Scrolls. Certain divergences in these traditions, however, reveal that it is in fact 1 Enoch 14 that depends on a vision account much like that found in Dan 7. The Book of Giants and Daniel, on the other hand, both seem to make use of a common tradition, each adapting it in a different way. | 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 | 18,336 |
Justice Sotomayor and the Path to Polygamy | The oral arguments on Proposition 8 at the Supreme Court suggest that there is very good reason to believe that the declaration of a "right" to same-sex marriage will set us on the path to polygamy. | 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 | 18,337 |
The Embourgeoisement of Revolutionary Regimes:Reflections on Abdallah Laroui | The definitive version of this document can be found here: http://www.tandf.co.uk/journals/tf/1057610x.html This document was created using OCR technology, and may contain minor discrepancies from the published document. | 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 | 18,338 |
Comment on the mid-50s of the 20th century ideological critique campaign of Hu Shi | By the end of 1954,with "two little people" critical study by Yu Ping-bo's Dream fuse,start the party in the ideological field of large-scale criticism of Hu Shi thought movement,this criticism from the three aspects of this campaign to make brief comments. | 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 | 18,339 |
“Earth, Speak to Me, Grass, Speak to Me!” Trauma, Tragedy, and the Crash Between Cultures in Medea | In the Euripides tragedy, Medea was the Princess of Colchis. After having helped Jason—who traveled from Greece—to acquire the Golden Fleece, she married him and followed him to Corinth in Greece. They had two children, but Jason soon turned his interest to the daughter of the king of Corinth and married her. Medea in revenge of Jason's betrayal murdered their children. In this paper, I propose an interdisciplinary approach that can help to contextualize the Medea tragedy. I consider Medea as the mythical character that personifies narcissistic rage within the context of cultural crash. I suggest that this tragedy can be used metaphorically to formulate clinical hypotheses on trauma and dissociation in the context of the difference between cultures, a difference that becomes an insurmountable barrier of incomprehension. | 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 | 18,340 |
Sensual Philosophy: Toleration, Skepticism, and Montaigne's Politics of the Self | Chapter 1 Introduction Chapter 2 Montaigne's Skepticism Chapter 3 Cannibals in Utopia: Habitude Naturelle and the Politics of Primitivism Chapter 4 Sophisticated Simplicity: The Reflective Self and the Good Life Chapter 5 Montaigne's Politics of the Good Life: Toleration and the Private Sphere Chapter 6 The Possibility of Skeptical Toleration: Essaying Montaigne's Arguments | 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 | 18,341 |
Tales of Hidden Lives: A critical examination of life history research with people who have learning difficulties | This paper explores the use of life history research with people who have learning difficulties. [1] A number of strengths and weaknesses associated with the life history as a method of imparting life experiences are examined. Particular emphasis is given to the dilemmas that researchers may face in explicating the life histories of informants labelled as having learning difficulties. With reference to literature on narrative-based research and by drawing upon my own research experiences, I will argue that life histories reaffirm the personal in social theorising, whilst providing a methodology in which individual and social worlds may be drawn together. In addition, eliciting life histories may promote a vivid sense of the research process, thus demystifying the often over technical and jargonised nature of social scientific study. On the down-side, I will suggest that images of the 'imaginative researcher' and 'articulate informant' portrayed in much life history literature, threaten to stifle researche... | Acknowledgments Note on Chinese Words and Names Prologue: Looking Backward Part I. Literary Representation 1. Ethnicity and Atrocity 2. Documenting the Past 3. Engendering Victimhood Part II. Cinematic Re-creation 4. Past Versus Present 5. Screening Atrocity 6. Memory as Redemption Epilogue: Looking Forward Notes Bibliography Index | eng_Latn | 18,342 |
Deliberate Sexual Torture of Women in War | Women and men have been tortured sexually by all sides in the wars in Croatia and Bosnia-Herzegovina (1991-1995). However, all documentation proves that systematic rape was committed mainly upon Bosnian Muslim women by Bosnian Serb and Serb militia, military personnel, and other persons in authority, often as a weapon in “ethnic cleansing.” Health and mental health professionals may play an important role in documenting rape in war, as well as in the treatment of survivors. The first section of this chapter presents data on 55 sexually tortured women who were included in the Danish psychosocial treatment programme Boswofam. | 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 | 18,343 |
Marcas da Violência: vozes insurgentes no Teatro Negro Brasileiro | Ethnology studies report issues related to theatricality and spectacularity both in the scenic and ritual fields. Thus, theatre is one of the supports in ethnoscenological research, and this work focuses on Black Theater. Among the forms of representation of Blacks in Brazilian society, violence is one of the symbolic traits that has been re-signified in Afro-Brazilian texts. This essay aims at portraying some echoes of violence in dramatic/spectacular texts in Brazilian Black Theatre. We intend to discuss the instances in which violence is scenically represented and how this interferes with the (re)construction of black identities and subjectivities. | ISFOL, Mangano G., Active Inclusion Learning Network. Primo incontro di scambio 'Troubled Families'. Documenti e prodotti, Londra, National Offender Management Service, 9-10 aprile 2014. Isfol OA: | por_Latn | 18,344 |
Coastal Risks in France: An Integrated Method for Evaluating Vulnerability | Abstract A multidisciplinary team of researchers from the humanities and social sciences, including geographers, sociologists, and economists, worked together to develop a tool for evaluating coastal zone vulnerability. The results of this collaboration are presented in this article. Clearly, the vulnerability of the coastal zone is exacerbated by the combination of increasing socioeconomic stakes and high-level natural risks that come together in this limited geographical area. Whereas natural dynamics make the shoreline intrinsically mobile, with, in most cases, a tendency to drift inland, the evolving human activity in this zone adheres to a contrary logic; it progresses toward the sea, often working to define the coastline permanently through seawalls and jetties, for example. This highly developed coastal area is today at risk, the result of telescoping natural and anthropogenic forces. Given the risk, the notion of sustainable coastal development within the framework of integrated coastal zone manag... | 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 | 18,345 |
Identity (Re)construction through sharing: A study of mother and teenage daughter dyads in France and Japan | We use the transitional and liminal stage when daughters enter adolescence to investigate how sharing practices within families are employed as a resource in identity work. We show the importance of “sharing in” within some French dyads, as a means for discovering new life projects and for rediscovering past identity projects driven by self-expressive motivations. In contrast, Japanese dyads are often reluctant to share personal possessions (sharing out) in order to maintain hierarchical relationships (affiliation motivations) and remain fashionably up-to-date (self-expressive motivations) in their identity work, and in their drive to maintain and prolong their mothering role. In order to better target adolescent girls’ mothers, retailers could develop more clothing appeals based on inter-generational approaches in France and intra-generational approaches in Japan. | 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 | 18,346 |
Severing the Source of Fear: Contemplative Dynamics of the Tibetan Buddhist GCod Tradition | Asking ‘What is the nature of fear?’, ‘How is it that fear and terror are amenable to being “severed” or “transcended”?’, and ‘Why would it be advantageous to “sever” fear?’, this paper investigates the act of cutting-through fear via the Tibetan Buddhist meditative tradition known as ‘gCod’ (‘chod’). Through examining Mahayana philosophical notions of self and phenomena, as well as the psychological implications of subject-object reification at the heart of gCod, we elaborate on the interior cognitive and emotional dynamics of gCod praxis. In order to elaborate on these contemplative dynamics, we reflect upon translated verses from one of the seminal texts of the gCod tradition, entitled The Essence of Enlightened Awareness: The Quintessence of the Profound Meaning of the Entirety of Expositions and Guidance on the Transcendent Wisdom that Cuts-Through. | 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 | 18,347 |
“Not Without a Will; Not a Child; Certainly Not a Thing”: The Birth of an “I” | This paper focuses on Freud’s subjective presence in the room as a major curative aspect in his one-session consultation with Margarethe. It is suggested that embedded in Freud’s way of listening, active encouragement, and authoritative intervention, there was a mutual impact and recognition that may have created space for an experience of agency to develop within the mind of the patient. Whereas Freud’s influence on the patient is obvious, a close look at the encounter illustrates that the patient felt that she had her own impact on Freud. In other words, in a not-so-classically Freudian way, Freud may have been (or allowed himself to be) touched and moved by the patient, which in turn fostered the development of her subjective self and the transformative nature of this one session. | 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 | 18,348 |
Dedicated to the memory of Armand Borel, with affection and admiration | Let G be a connected semisimple Lie group such that the associated symmetric space X is Hermitian and let g be the fundamental group of a compact orientable surface of genus g ≥ 2. We survey the study of maximal representations of g into G, that is the subset of Hom( g, G) characterized by the maximality of the Toledo invariant ((17) and (15)). Then we concentrate on the particular case G = Sp(2n, R), and we show that if ρ is any maximal representation then the image ρ( g) is a discrete, faithful realizations of g as a Kleinian group of complex motions in X with an associated Anosov system, and whose limit set in an appropriate compactification of X is a rectifiable circle. | 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 | 18,349 |
Episiotomy: the biomechanical impact of multiple small incisions during a normal vaginal delivery | Childbirth-related injuries are one of the main causes of pelvic floor dysfunction. To attempt to avoid serious tears during delivery, an episiotomy can be performed. In this study, we intended to ... | 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. | eng_Latn | 18,350 |
The Protection of Cultural Property: the 1995 UNIDROIT Convention and the EEC Instruments of 1992/93 Compared | The five-year period 1991-1995 saw the preparation of no fewer than eight multilateral international instruments or resolutions dealing with the protection of cultural property by six separate international or supranational organisations and associations, to wit: the United Nations,1 the International Institute for the Unification of Private Law (UNIDROIT),2 the European Union,3 the Council of Europe,4 the International Law Association 5 and the Institute of International Law.6 During this same period, bilateral treaties or agreements were concluded by Germany 7 and the United States of | 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 | 18,351 |
Mother courage and her children : a chronicle of the Thirty Years' War | Mother Courage was first performed in Zurich in 1941 and is usually seen as Brecht's greatest work. Remaining a powerful indictment of war and social injustice, it is an epic drama set in the seventeenth century during the Thirty Years' War. The plot follows the resilient Mother Courage who survives by running a commissary business that profits from all sides. As the war claims all of her children in turn, the play poignantly demonstrates that no one can profit from the war without being subject to its terrible cost also. This translation by Pulitzer Prize-winning playwright Tony Kushner is contemporary and lively, with accessible and humour language, an easy conversational flow, sympathetic, understandable characters and humour. Kushner makes a classic play which is notoriously difficult to perform both stage and reader friendly. It was staged at the National Theatre directed by Deborah Warner and starring Fiona Shaw in September 2009. | 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 | 18,352 |
Song and Story in Biblical Narrative: The History of a Literary Convention in Ancient Israel | Preface Abbreviations 1. Moving Between Prose and Poetry 2. A Chorus of Approving Voices 3. Swan Song 4. Sing to the Lord a New Song 5. Play It Again, Sam 6. A Biblical Fugue Appendix A: The Narrative Role of DavidOs Lament Appendix B: The Songs of Israel and the Song of the Angels Notes | 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 | 18,353 |
The Power of Women Business Angels: Breaking the Double Glass Ceiling That Limits Women’s Entrepreneurial Dreams | Nowadays, women still engage in attempting to bridge the gender gap in terms of pay and access to leadership positions. However, even in recent years, studies show that women are better educated than ever before, but they still continue to demand greater economic incentives, and to claim coveted CEO roles, even at international companies such as IBM or Yahoo (American Express OPEN, 2013). This situation is even worse for certain groups of women. In developed countries, women belonging to certain minorities suffer discrimination in employment, mainly because of their racial origin. In developing countries, women constitute a group that for cultural and religious reasons is subject to discrimination, inequality, and isolation. Moreover, such gaps often occur despite the fact that these women are the only source of income for the household. | 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 | 18,354 |
Hardiness and Grief in a Sample of Bereaved College Students. | The relationship between hardiness and both grief symptoms and personal growth were investigated in a sample of bereaved college students. Hardiness was inversely associated with grief symptoms and offered prediction of grief misery above and beyond that provided by more commonly investigated individual and death-related variables. Hardiness was not linearly associated with personal growth; however, results suggest the need for future research focused on the comprehensive evaluation of the potential non-linear relationship between these constructs. Closeness to the deceased was a significant and linear predictor of personal growth. Directions for future research and implications for practice are discussed. | 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 | 18,355 |
Undisclosed Recipients : documentary in an era of digital convergence | 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. | This article reviews Elastic Waves in Composite Media and Structures: With Applications to Ultrasonic Nondestructive Evaluation by Subhendu K. Datta, Arvind H. Shah , 2009, 318 pp. Price: $149.95 (hardcover) ISBN: 978-1-4200-5338-8. | eng_Latn | 18,356 |
Autumn, 1830. Her Letter to Dead | the seasons have changed the farm. The magpies take to the peppers, the wild cats fatten with field mice and feed from the bam. My strawberries are spreading with such felicity! The drought coughed up its last windstorm some two months ago and you know we do not have to dust the china every day. This moment, Margaret my sister coughs from a real coldno hacking now from the dreadful summer mote. The modest bears promise: our winter crop is planted and all that remains is the watching, mounds curled to the walnut tree. I marvel at them whenever: from the kitchen window washing dishes, cooking, from the bedroom sewing the infinity quilt (yes, stilI! still! ) . Often we both find ourselves staring from these back windows, studying the completeness of rain. A stranger might think we seemed satisfied, nothing more, hopes stammering | 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 | 18,357 |
Divine Grace and the remedy of the imperfect. Michelangelo's Signature on the St Peter's "Pietà" | It can be said that Michelangelo’s signature on the St Peter’s Pieta (executed 1498–1499/1500) is no less extraordinary and meaningful than the sculpture itself. The two components of the work, sculpture and inscription, move from the past to the future pari-passu, and the author believes that the innovations they bring in both domains are profoundly interrelated. The purpose of this paper is to reconsider Michelangelo’s work in what the author considers to be a new light, which may also illuminate, so to say, the inner relationship between Michelangelo’s words and image. | 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 | 18,358 |
Cybercrime and Cybersecurity in Africa | ABSTRACTAfrica has been among the fastest growing regions in terms of cybercrime activities. The continent is also a source of significant cyberattacks targeting the rest of the world. However, a n... | 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 | 18,359 |
Onontio Gives Birth: How the French in Canada Became Fathers to Their Indigenous Allies, 1645–73 | Abstract: As recent scholarship has recognized, kinship is at the heart of Indigenous visions of law and alliance. This article explores an important shift in the kin metaphors used in intercultural alliances and treaty making in seventeenth-century eastern Canada. At the beginning of this period, Indigenous peoples and French colonizers described their relationship as an alliance of brothers. By the end of the century, the governor in Quebec was ritually addressed as a father by First Nations allied to the French. This new metaphor would outlive the French regime and endure for another two centuries as a key symbol in British–Indigenous relations. Scholars have generally attributed the paternal status of French (and, later, British) royal representatives in the alliance to the insistence of patriarchally minded Europeans, but, in fact, the notion of French fatherhood originated with Mohawk and Onondaga leaders as early as the 1640s as a corollary of their efforts to establish an alliance with the French.... | 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 | 18,360 |
La literatura del exilio en su historia | The author remembers how the problematic integration of the literary work of the exile was raised when writing the Social History of the Spanish Literature in the beginnings of the post-franquismo, reviews the diverse approaches realized from then on, and establishes frames for comparison with other exiles taken place in the western culture during the XX Century. Finally, he evokes his experience as a member of the second generation of the Republican exile, and his integration in the group that published the magazine Presencia. | Tienda online donde Comprar Drug Hypersensitivity, An Issue Of Medical Clinics Of North America, Vol. 94-4 al precio 64,99 € de W.J. Pichler, tienda de Libros de Medicina, Libros de Alergologia e Inmunologia - Alergologia general | spa_Latn | 18,361 |
History in the Making: Pan Am and Wolfgang Langewiesche | In this study we examine how knowledge of the past is produced as history. We undertake this through a study of the development of a specific history of Pan American World Airways (Pan Am), namely Robert Daley’s (1980) An American saga: Juan Trippe and his Pan Am empire (New York: Random House). In particular we are interested in tracing the socio-political work of the various human, non-human, and non-corporeal actors that go into the development of a given history. In the process, we focus not only on the work of successful actor networks but also failed actors in the production of history. Our analysis follows the traces of Wolfgang Langewiesche and tells his story of enrollment, attempted alignment and translation efforts of many heterogeneous actors, his counter-enrollment process, and the subsequent treatment of his traces within the airline. Our theoretical approach draws on ANTi-History, a nascent critical historiographic approach that considers both the production and role of history as being an ... | 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 | 18,362 |
(Re) investigating Man, Drum and Music in Healing | This paper examines the trio, man, drum and music as God' s direct and indirect creations and their collective significance in music healing using experiences from Nigeria. In this connection, it studies their independent attributes and discusses them within the general framework of indigenous beliefs in non-western music healing traditions. The opinions held in this study are derived from a review of literature and field investigations. The researchers discovered that for music healing to thrive in modern societies, there should be an interaction between the ancient and the modern in terms of philosophy and practice. Hence, the factors which make indigenous music healing efficacious require a genuine scrutiny. This stride will obviously be helpful to all interested in music healing. | This study aims at exploring deceptive dynamics (i.e., impression management [IM], self-deception, and emotional manipulation [EM]) and their role in control beliefs and health status reporting in ... | eng_Latn | 18,363 |
Translating Marina Carr for a Brazilian audience: The interweaving of memories in theatre and translation | In this article, I wish to demonstrate how the theatre translator, when tailoring his/her translation to suit a particular theatre audience, resorts to creative strategies so as to establish dialogues between the exporting and importing cultures s/he is dealing with. Based on both my own translation of By the Bog of Cats… (1998), written by contemporary Irish playwright Marina Carr, and fieldwork carried out with a group of acting students in Florianopolis, Brazil (June 2010), this article shows how the Irish play, when translated into Brazilian Portuguese, creates layers of intertextuality with Brazilian–Azorean folklore and Brazilian theatre tradition, most particularly with Nelson Rodrigues’s modern play Vestido de noiva [The Wedding Dress]. The local language of southern Brazil set in the mystically unsettling space of a bog invited the actors, the director, and the audience members to embark on a hybrid voyage to both familiar and foreign places. | The papers presented at the APIRA conference 1998, on management accounting change are discussed – Japanese cost management; management control system design; ethnographic case studies; and management accounting’s role in public sector transformation. | eng_Latn | 18,364 |
[Posthumous memoirs of mulatto insanity: a pathological interpretation of Machado de Assis's appropriations]. | Studies to identify possible relations between artistic creation and psychopathology (starting in nineteenth-century Europe) have influenced Brazilian thought on this topic. The objective of this article, from the perspective of the history of health sciences, is to analyze viewpoints throughout the twentieth century which considered the neurological and psychiatric diseases of Machado de Assis as fundamental to the development and content of his literary work. A theoretical and methodological reading based on Bakhtin found that many authors considered Machado de Assis's epilepsy to be the main reason behind his creativity, which allowed a review of the appropriation of different psychiatric theories in Brazil, as well as various theoretical concepts. | 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 | 18,365 |
The materiality of mild fear: deep wood women and women who have incidents with animals | Conceived as a visual love letter (of sorts) to the deep woods, the exhibition is the result of walking, often alone, in the forest spaces of British Colombia, Canada, visiting First Nation and Settler communities as part of an ongoing preoccupation with wildness and remoteness. Through her work, de Cordova considers how the idea of the female figurative sculpture can express landscape narratives, intercultural exchange and blended identities that draw upon European and non -European sources which allude to terra mater mythologies. | In the paper, we establish an improvement of Minkowski inequality for sums. Its reverse version is also given.). | eng_Latn | 18,366 |
A tribute to Dr. Normand Belliveau. | Dr. Normand Belliveau has passed away at the age of 92. He made many important contributions to medicine and surgery through his close associations with several medical organizations. He was the former president of the Quebec Medical Association and the Canadian Medical Protective Association (CMPA)as well as the 100th president of the Canadian Medical Association. This commentary is a tribute to his contribution to CMPA. | 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 | 18,367 |
On the Influence of Cyber Culture on the Morality of College Students | Cyber (internet) culture as a symbol of the technology revolution which is based on information technology has permeatedinto every walks of life in our society today. As a new media, internet exerts both negative and positive influences on themorality of college students. Practitioners in moral education are urged to direct college students to establish a right outlookon the world, life and values. | 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 | 18,368 |
It's All in the Name: Why Some URLs are More Vulnerable to Typosquatting | Typosquatting is a blackhat practice that relies on human error and low-cost domain registrations to hijack legitimate traffic from well-established websites. The technique is typically used for phishing, driving traffic towards competitors or disseminating indecent or malicious content and as such remains a concern for businesses. We take a fresh new look at this well-studied phenomenon to explore why some URLs are more vulnerable to typing mistakes than others. We explore the relationship between human hand anatomy, keyboard layouts and typing mistakes using various URL datasets. We create an extensive user-centric typographical model and compute a Hardness Quotient (likelihood of mistyping) for each URL using a quantitative measure for finger and hand effort. Furthermore, our model predicts the most likely typos for each URL which can then be defensively registered. Cross-validation against actual URL and DNS datasets suggests that this is a meaningful and effective defense mechanism. | 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 | 18,369 |
Friderik Baraga, A Theoretical and Practical Grammar of the Otchipwe Language (Detroit, 1850 | The article on Friderik Baraga s A Theoretical and Practical Grammar of the Otchipwe Language (Detroit, 1850; written in English) presents one of the most outstanding works in the field of the so called missionary linguistics. It was a Slovenian missionary of all people who carried out a pioneer work in this linguistic field; but in spite of that this work has not yet been presented in his native country. Through the basic grammatical structure the article presents the characteristic features of the Otchipwe language as a relatively poorly known non-Indo-European language, as well as Baraga conceptual. | 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 | 18,370 |
Art therapy with a young refugee woman – survivor of war | Abstract This essay represents an art therapy case study with a young refugee woman called Hanna, which took place at a day centre in an NHS trust. In particular, I focus on the client's loss of home and her nostalgic feeling – an experience particular to refugees. This essay is an exploration of meanings and the client's feelings of nostalgia, separation and loss, abandonment, guilt and shame, helplessness and anger, together with good childhood memories, tradition and religious belief which are expressed in her images through symbols. I also explore the importance of the provision and the effectiveness of art therapy and how a therapeutic relationship created a container that supported this client to build strength and resilience to cope with her difficult situation. Reference will be made to the importance of good early attachment and how this helps to build resilience in individuals recovering from trauma. | 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 | 18,371 |
Literary portrayals of the elderly artists in tina howe’s coastal disturbances: four plays | 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. | To explore infrastructures and publics from a historical perspective, in this paper I will focus on the entangled development of transport infrastructures in the nineteenth century on the one hand and the rise of amusement cultures on the other. More specifically, I will examine a phenomenon that became popular at US State Fairs at the end of the century, namely staged railroad crashes with two steam locomotives. | eng_Latn | 18,372 |
Do FADs influence the geographical distribution of dolphinfish (Coryphaena hippurus) | For most fisheries, increasing the local production of pelagic fish is the main objective of Fish Aggregating Devices (fads). This does not rule out the existence of a larger-scale impact, especially on the migratory behaviour of fish. The analysis of data collected during 25 experimental fishing surveys around Martinique between 1995 and 1997 has led to the hypothesis that fads influence the migratory behaviour of young dolphinfish. Unlike recent studies of dolphinfish migration in the Caribbean, which tend to show an annual migration pattern with a seasonal passage through the French West Indies, the experimental fishing surveys done over more than a year on a monthly basis on a single cohort, show that the migratory pattern of part of the regional stock could be disrupted. This analysis has made it possible to estimate an average growth rate for this species during the first year of life. | Asking ‘What is the nature of fear?’, ‘How is it that fear and terror are amenable to being “severed” or “transcended”?’, and ‘Why would it be advantageous to “sever” fear?’, this paper investigates the act of cutting-through fear via the Tibetan Buddhist meditative tradition known as ‘gCod’ (‘chod’). Through examining Mahayana philosophical notions of self and phenomena, as well as the psychological implications of subject-object reification at the heart of gCod, we elaborate on the interior cognitive and emotional dynamics of gCod praxis. In order to elaborate on these contemplative dynamics, we reflect upon translated verses from one of the seminal texts of the gCod tradition, entitled The Essence of Enlightened Awareness: The Quintessence of the Profound Meaning of the Entirety of Expositions and Guidance on the Transcendent Wisdom that Cuts-Through. | eng_Latn | 18,373 |
The Humanitarian Law and the Violations of Human Rights in Armed Conflicts | The humanitarian law is also called the law applied in armed conflicts. The human rights are violated during armed conflicts. For this reason, it is necessary the intervention and the respect of human rights during armed conflicts. The human rights became part of humanitarian law during the Tehran Conference in 1968. They influence the humanitarian right to ensure the protection of civilians during armed conflicts. On the other hand, they interact to bring before international penal courts, the perpetrators and promoters of these violations of fundamental human rights. | 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 | 18,374 |
Beyond the Bondage of Boundaries | This narrative seeks to describe a route towards the roots of personal and cultural identity through shared journeys of loss and grief. It attempts to find lived spaces for spiritual growth and reconciliation through the complexity of shared experiences and through the search for ways of transcending the boundaries of cultural identity and culturally prescribed ways of grieving. The complex interplay of these juxtaposing themes and interconnecting tensions and paradoxes provides opportunities for new ways of being and the possibility of transcendence of barriers such as gender, ethnicity, culture, language difference, and social class. This is achieved in consideration of context and environment and through the metaphor of ''pushing out the boundaries of lived experience beyond common understanding.'' | We give a detailed discussion of the construction of the Batalin-Vilkovisky BRST charge for the heterotic superstring. In particular, we completely solve the higher-ghost sector using a recursion relation. The gauge choice ▽+θ = 0, which we previously proposed for the superparticle, leads to a free quantum action. | eng_Latn | 18,375 |
The black hand : the bloody rise and redmeption [i.e. redemption] of "boxer" Enriquez, a Mexican mob killer | For two decades, Rene Enriquez, aka 'Boxer', was a mob enforcer among the upper echelons of the Mafia. But he didn't work for the Italians. Or the Russians. He worked for the La Familia Mexicana, also knowns as La Eme, a powerful and fearsome mob organization that used a base army of approximately 60,000 heavily armed, loyal Latino gang members - the Surenos - to control California's crime world. The most dangerous gang in American history, they wave the flag of the Black Hand - and their reach is growing. In this riveting and bloody saga, Enriquez shares the story of La Eme with experienced investigative journalist Chris Blatchford. Unveiling the inner workings of this dangerous and powerful organization, Enriquez reveals how he devoted his life to the cause-only to find betrayal and disillusionment at the end of a bloody trail of violence that he followed for two decades. As gripping as it is terrifying, "The Black Hand" offers a window into a little known world and explores its implications for us all. | The 262 volume of Encyclopedia for the five rituals written by Huitian Qin in Qing dynasty is a magnum opus which study the ancient ritual of China.The book cut out several literatures like notes and commentaries of the thirteen classic works,the Twenty-Four Histories etc.Its description arranged by type is very clear and deep and enclose the postscript in the end.It tell us what's the meaning of auspice,threat,objective,discipline and commendation and is full of important academically values.However it is hard to avoid mistakes when citing literatures of files because of numerous reels and words.This paper study the files cited by Encyclopedia for the five rituals-pilgrimage from Complete library in the Four Branches of Literature in Wenyuan Pavilion,distinguish the errors,scarcities,different meanings from Encyclopedia for the five rituals according to the original book and discuss its shortage. | eng_Latn | 18,376 |
Mother of the Year: Kathy Hilton, Lynne Spears, Dina Lohan and bad celebrity motherhood | In the lives of many young people, that person [responsible for curbing bad behaviour] is a parent. But what if it's not? What if the whole family is along for the ride, with photographers and TV crews watching from the sidelines? Let's ask Nicky Hilton, Ali Lohan, and Jamie Lynn Spears in five years. Vanity Fair, November 2007. | 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 | 18,377 |
Motherhood and nation: The voice of women artists in Israel's bereavement and memorial discourse | This article offers an interpretive reading of current works of art by women that indicate the paradoxical place of the woman artist as a mother in the cycle of militarism and attitudes toward the discourse of bereavement and commemoration. My hypothesis is that the arts herald or anticipate the trauma by seeking to express something that may be called “pre- and counter-commemoration.” This interpretation of these artists' stance expands on insights arising from the notion of “counter-memory” to discuss a paradoxical form of commemoration that refuses to acquiesce in the cycle of militarism and memorialization. The article offers an integrated examination of theory and practices in the historical context of motherhood and nationalism and, specifically, of women artists in Israel in recent decades in the “discourse of bereavement” as opposed to the “discourse of the bereaved.” | There are negative consequences for children and youth when a primary caregiver leaves to migrate. However there are unforeseen experiences related to schooling. I compare how Mexican maternal migration has influenced the education experiences of the children left behind in Mexico and their siblings living in the United States. These microcontexts of where and how siblings live in Mexico and in New York City present us with a somewhat surprising picture of the different education experiences. | eng_Latn | 18,378 |
Video Release: How to Make 3-D Cookie Snow Globes (Part 1 - The Outsides) | Julia Usher | Recipes for a Sweet Life | A new video by cookie, decorating, and sweets guru Julia M Usher about how to make 3-D cookie snow globes, just in time for Christmas! | 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 | 18,379 |
December 2, 1851, in Finistère: A Transient Coup? | Was 2nd December a different day in Finistere ? Indeed, hardly anything actually disrupted the obvious and genuine peace after the coup. So, 2nd December didn't seem to mark a milestone straightaway, except for those in charge of the department administration, who were informed of the national news and who somehow belonged to the public sphere. However, the mark of the new regime was challenged simultaneously and for others, often, by a second date, the plebiscite of 20th December. The stakes of the event | 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 | 18,380 |
Asymmetry and systemic misperception: China, Vietnam and Cambodia during the 1970s | While the differences between the perspectives of countries disparate in size and power provide fertile ground for the individual misperceptions analyzed by Robert Jervis in his seminal work, the imbalance of vulnerability between the stronger and weaker sides in an asymmetric relationship can also create systemic misperceptions. The structurally based misperceptions of each side have a negative complementarity, that is, they will tend to produce a vicious circle in which the interpretation of the actions of the other side becomes further and further removed from the other side's subjective intentions, and negotiation breaks down. The constraints on asymmetric misperceptions are very different from the ‘golden rule’ because treating another as oneself is premised on reciprocity. The management of asymmetric relationships is based in part on the neutralization of issue areas by means of inclusive rhetoric and routinization and in part on creating a sleeve of normalcy for transactions through precedent and ... | 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 | 18,381 |
"Islamic Anthropology" and the "Anthropology of Islam" | L'A. passe en revue les diverses propositions pour une « anthropologie islamique» et leur relation avec l'« anthropologie de l'Islam ». L'anthropologie islamique aborde les phenomenes sociaux et culturels sur la base de valeurs / principes islamiques a l'aide de techniques analytiques derivant des textes et traditions islamiques. Cette approche a ete denigree. Toutes les anthropologies sont prisonnieres de leurs affirmations et definitions. Cela est particulierement vrai pour d'autres anthropologies « ideologiques » comme les anthropologies marxiste, feministe ou appliquee. L'A. se demande en quoi une « anthropologie islamique » (d'une culture musulmane ou autre) differe des autres « anthropologies de l'Islam » (etudes des societes et cultures musulmanes, ou des traditions, croyances et pratiques islamiques) | 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 | 18,382 |
IDENTITIES: THE PLOT OF THE POST-MODERN IN BRAZIL | This paper reflects on aspects inherent in characterizing the fluidity of life in contemporary societies, from passages drawn from two Brazilian tales then highlights elements inherent to samba while differentiating identity aspect of Brazilian culture, among the “scenes of life postmodern” | Poster: "EuroSafe Imaging 2019 / ESI-0034 / Myth mammography buster: risks of social media misinformation" by: "K. A. K. Pesce, M. Ulla, R. D. Garcia-Monaco, S. A. A. Blanco, M. Swiecicki, C. Hadad, J. M. Saidman; Hospital Italiano de Buenos Aires Buenos Aires/AR" | yue_Hant | 18,383 |
Fire in the sky: the air war in the South Pacific | The Three-dimensional BattlefieldDefining the Battlefield: Air-Base NetworksThe Land and Air Machines and Men in the South PacificJapanese WarplanesAllied AircraftAirmen in the South Pacific Blood in the Sky: Air Battle in the South PacificDeadly Geometry: Fighter Warfare in the South PacificMaking History: Bombers in the South PacificConclusion | 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 | 18,384 |
Can We Predict Bleeding in Pregnancy? Computer Graphic Analysis of Obstetric Bleeding | As is already well known, the amount of bleeding at childbirth greatly affects the prognosis for the mother and her baby. According to statistics compiled by the Japanese Welfare Ministry the major cause of maternal death has been gestosis; the second most important cause of maternal death has been bleeding. These facts show that bleeding at childbirth is an important factor in the mortality of pregnant women. | 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 | 18,385 |
Smart army helmet: a glance in what soldier helmets can become in the near future by integrating present technologies | Nowadays, technologies like improved reality systems, sensing systems and communication systems, are moving forward with a high rate. This situation is very convenient for military groups that are trying to access modern technologies. According to that, it is very feasible to propose the development of electronic devices that increase the possibilities for soldiers to be alive during an armed conflict, providing them with information that can bring strategic benefits on the combat field, which is the main goal of this research. Therefore, it is proposed in this paper the early design stages of a smart army helmet, focusing in their low cost production; however, all the electronics stages specified here are proposed as prototypes. | 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 | 18,386 |
Great Britain Against Libya’s state Terrorism in the 1980s | The aim of this paper is to present and assess Britain’s attitude towards Libya’s state terrorism in the 1980s. It presents the circumstances of involvement of Libyan authorities in the acts of terror, as well as the reasons for directing such activity against the United Kingdom. The paper discusses the response of the British authorities to the Libyan-backed terrorist activity and the results of investigations into attacks perpetrated by Libyans against British citizens. The main thesis of the paper is the statement that the politics of Great Britain in reaction for support offered by Muammar Gaddafi’s regime to the international terrorist network was formulated in line with the main directions of US policy towards Libya. | 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 | 18,387 |
France adopts new code of medical ethics. | The French government has adopted a new code of medical ethics, which was first proposed by the Ordre National des Medecins, the French medical association, two years ago. The 114 article code was approved by Elizabeth Hubert, the minister of public health, and published last week. Major changes since the last code, which was published in 1979, cover patients' rights, particularly their right to … | 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 | 18,388 |
‘Conscript Fathers and Shuffling Recruits’: Formal Self-awareness in Romantic Poetry | In a letter sent to Southey in 1815, Wordsworth discusses the require- ments which poetry needs to satisfy if it is to attain the status of ‘epic’. With Jerusalem Delivered in mind, he expresses reservations about ‘the movement of Tasso’s poem’, faults ascribable to the fact it is ‘written in stanzas’. For Wordsworth no stanzaic form is equal to blank verse where epic is concerned: ::: Spenser’s stanza is infinitely finer than the ottava rima, but even Spenser’s will not allow the epic movement as exhibited by Homer, Virgil and Milton. How noble is the first paragraph of the Aeneid in point of sound, compared with the first paragraph of the Jeru- salem Delivered. The one winds with the majesty of the Conscript Fathers entering the Senate House in solemn procession; and the other has the pace of a set of recruits shuffling on the drill-ground, and receiving from the adjutant or drill-serjeant the command to halt at every ten or twenty steps.1 | This article examines the relative contribution of work stressors, family and community resources, and Army support resources to the family adaptation of a sample of 238 single parents serving on active duty in the US. Army. The results indicate that the adaptation of single-parent families to Army demands is influenced more strongly by the availability of family, community, and Army resources than by the presence of work stressors. Recommendations are offeredforpolicy andpractice. | eng_Latn | 18,389 |
The Girl who Cried Wolf: Pseudologia Phantastica and Sexual Abuse | There has been an explosion of interest recently in sexual abuse and incest, with reported causal links to a wide variety of psychiatric disorders. The integrity of Freud's seduction theory has been challenged by Jeffrey Masson and sexual abuse activists. What is the position of a therapist who finds out that a patient's reports of incest and sexual abuse turn out to be fabrications? These issues are presented and discussed in the context of a brief, illustrative case history. There is also a review of the concept of "pseudologia fantastica", as well as a brief review of a feminist critique of Freudian theory. Language: en | 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 | 18,390 |
La «malmaritata» e poesia per musica nelle corti italiane del Rinascimento | The A. explains and analyses some significant cases and examples of that process of conscious contamination between learned and popular poetry, which took place in the Italian Renaissance courts. | Having been unavailable for many years, the Swedish film Ratten att alska (‘The right to love’) was restored by the Swedish Film Institute in 2013 and made accessible for research. In many ways a t ... | ita_Latn | 18,391 |
The Logic of Chastity: Women, Sex, and the History of Philosophy in the Early Modern Period | Before women could become visible as philosophers, they had first to become visible as rational autonomous thinkers. A social and ethical position holding that chastity was the most important virtue for women, and that rationality and chastity were incompatible, was a significant impediment to accepting women's capacity for philosophical thought. Thus one of the first tasks for women was to confront this belief and argue for their rationality in the face of a self-referential dilemma. | 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 | 18,392 |
Injection, detection and repair of aesthetics in home movies | This paper details the design of an algorithm for automatically manipulating the important aesthetic element of video, visual tempo. Automatic injection, detection and repair of such aesthetic elements, it is argued, is vital to the next generation of amateur multimedia authoring tools. We evaluate the performance of the algorithm on a battery of synthetic data and demonstrate its ability to return the visual tempo of the final media a considerable degree closer to the target signal. The novelty of this work lies chiefly in the systematic manipulation of this high level aesthetic element of video. | 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 | 18,393 |
Islam's Trojan horse: battling perceptions of Muslim women in The 99 | The September 11 attacks intensified media and scholarly attention on Muslim women, occasioning controversial debates and discussions ranging from curious questions about Muslim women’s lives to eager clarifications on their status in Islamic societies. While numerous responses contributed to clearing space for the inclusion of Muslim women’s issues in international fora, these well-meaning efforts ended up reinforcing pre-9/11 beliefs about their oppression and subordination in Islamic societies, and ironically narrowed the dialectic of feminism in Islam to a struggle between women and religious fundamentalism. It was to widen this dialectic, among other things, and to expand the normative boundaries of feminist critique of Islam that Naif Al-Mutawa responded with his comic book The 99 by presenting Muslim women as superheroes. However, as this paper will argue, it is not in the unilateral representation of women as villain-bashing superheroes in direct contrast to their portrayal as defenseless victims ... | 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 | 18,394 |
Deep Learning Art History from Data: Baroque Intellectual Influence on the Romantic Era Painting | Baroque is a unique period for emergence of creative novelties in artistic ideas and technique improvement. Baroque art shows the influence of pre-Baroque period's humanism perspective, and it exerted an extraordinary influence on art following it. In the following, computational intelligence and deep learning are applied to elucidate the relationships among painting in the three periods. We outline the methodology and reports a successful preliminary study from limited data, which explored the concepts/techniques that have remained, or disappeared during the historical changes, and elucidated the connection among the Pre-Baroque, Baroque Period and Post-Baroque Periods. | 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 | 18,395 |
Dual-Modality Disclaimers, Emotional Appeals, and Production Techniques in Food Advertising Airing During Programs Rated for Children | The Federal Trade Commission (FTC) directed advertisers to present disclaimers in the dual-modality format more easily understood by children. A content analysis of the emotional appeals, production techniques, and types of disclaimers appearing in over 3,800 food television advertisements was conducted. Ads appearing in child-rated programs present significantly more of the emotional appeals and production techniques that research suggests capture the attention of younger children. Most disclaimers in child-rated programs were not dual modality. Future research should examine whether food advertising presents a potentially distracting mix of production techniques and emotional appeals that may divert children's attention from disclaimers. | 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 | 18,396 |
What sort of passports were internationally-recognised travel documents given to stateless refugees? | passports - How to travel if you are stateless? - Travel Stack Exchange How to travel if you are stateless? up vote 17 down vote favorite 3 After reading this question few questions popped up in my head. I know what a stateless person is after I read this wikipedia page but I could not find how do stateless people travel? if stateless people have no nationality then logically they have no passport.. if they do not have passport how do stateless people travel? There are a few solutions detailed in the answers but generally speaking being stateless creates many problems, which is why there many rules in place (in national law and in treaties) to avoid it as much as possible. – Relaxed Oct 6 '13 at 20:46 1 It could be argued that it is the treaties and national laws create the problems. For Touaregs in Sahara, being in Marocco or in Algeria does not make any sense... – Taladris Nov 19 '14 at 5:48 On the history of travel documents for stateless persons, see en.wikipedia.org/wiki/Nansen_passport – Andrew Lazarus Dec 9 '14 at 1:47 In Kuwait, stateless persons are given a special passport (which they have to surrender upon arrival) that allows them to travel. – Burhan Khalid Dec 10 '14 at 4:35 The UK Border Agency has a page describing just this, including how to apply for travel documents if one was stateless. They note that: A stateless persons' document issued to an adult will usually be valid for 10 years if you have permission to stay in the United Kingdom permanently (known as 'indefinite leave to remain'). If you have temporary permission to stay in the United Kingdom (known as 'limited leave to remain'), your stateless persons' document will usually be valid for the same period as your permission to stay here, up to a maximum of five years. In addition they point out that if granted, a stateless persons' document is normally valid for travel to all countries. Indeed, since 1954, you've been able to obtain a ' 1954 Convention Travel Document ' which for all intents and purpose, acts as a travel document, like a passport. Indeed, it says 'travel document' on the front cover. This arose from the 1954 Convention on Stateless Persons . 2 How does one apply for a visa then? Visa requirements are different depending where you come from, and rules would be hard to apply if there's no country which claims you as its citizen. – mindcorrosive♦ Aug 4 '12 at 8:55 1 @mindcorrosive that's why laissez-passer holders are required to have visa to any country, see my answer. – littleadv Aug 4 '12 at 9:13 @mindcorrosive - Presumably it's still up to individual companies to grant you visas, but given they're usually on a nationality basis in your passport, this still allows a stateless person to have a travel document. – Mark Mayo♦ Aug 4 '12 at 9:23 @mindcorrosive if the country is a member of the UN 1954 conventions, they must process a Visa with the same principles of any other class of "Alien" applying. They should not specialize for statelessness. Most, but not all countries do require a Visa for a stateless person to travel there. Although this changes depending on treaties with neighbouring countries where residency or a national document may allow travel regardless. – Jayson Minard Jan 18 '16 at 13:14 When I travel (as stateless), I find that some countries are very straight forward (Mexico, 6 months visa processed in an hour; Argentina a visa for every trip, but always granted; Brasil doesn't seem to know what to do; Ecuador no visa, they accept my travel doc as-is; Peru is almost impossible to go to, not because stateless, but because of the type of travel doc I have isn't in the treaties with the country that issued it; Schengen gives all members a chance to reject a Visa in cases like this, none have, but it isn't always granted [50% success so far]; ...) – Jayson Minard Jan 18 '16 at 13:15 A laissez-passer can also (mostly?) be issued to people who are not stateless but for some reason have no passport to return to their country. In this case, as in your exampl | History of Film by Paul Dudley - issuu issuu 156 illustrations, 15 in colour For my family Space is at a premium in a concise volume of this kind and, much as I w o u l d have liked to have included the original titles of films not in the English language with their translations or trade names, I have elected to refer to productions solely by the title by w h i c h they are best k n o w n in English. T h e date given in each case is that of a film's release in its country of origin. W h e r e sources conflict, I have opted for the majority decision. I am extremely grateful to all at Thames and Hudson for their assistance and unfailing encouragement, and w o u l d like particularly to thank Jason Freeman for his invaluable advice on the style and content of this book and all w h o tolerated me while I completed it. Any copy of this book issued by the publisher as a paperback is sold subject to the condition that it shall not by way of trade or otherwise be lent, resold, hired out or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including these words being imposed on a subsequent purchaser. First published in the United Kingdom in 1 9 9 5 by Thames & Hudson Ltd, 1 8 1 A High Holborn, London W C 1 V 7 Q X www.thamesandhudson.com Š 1 9 9 5 David Parkinson Reprinted 2 0 0 2 All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN O - 5 O O - 2 0 2 7 7 - X Printed and bound in Italy by Conti Tipocolor Contents CHAPTER T W O From S c i e n c e t o C i n e m a T h e F o u n d a t i o n s of C l a s s i c a l Hollywood CHAPTER THREE 261 INDEX i Otloimr Anschulz's Llectio-Tailn tope (jShy) exploited persistinic of vision to give tht inipics sion of moving pictures as transparencies of sequence photographs passed before brief flashes of light. Anschiitz later produced a dual-lens disc projector, premiered in Berlin in November 1894. CHAPTER ONE From Science to Cinema T h e most m o d e r n of all the arts, cinema is fittingly the most dependent o n science and t e c h n o l o g y . T h e twentieth century's d o m inant art f o r m was b o r n o u t of the nineteenth-century predilection for machinery, m o v e m e n t , optical illusion and public entertainment. Film's prehistory is a labyrinth of discoveries, inventions, part-solutions and failures. S o m e w e r e accidental, others coincidental, but f e w w e r e devised w i t h the e n d p r o d u c t o f projected m o v i n g photographic images in m i n d . It was an evolutionary process in w h i c h each n e w device or discovery inspired a fresh w a v e of emulation and e x p e r i mentation, sometimes for the purpose of entertainment, but often in the cause of science alone. T h e majority of its pioneers always envisaged the m o v i n g picture as primarily a scientific aid, i n d e e d e v e n Louis L u m i e r e claimed that ' m y w o r k has b e e n directed towards scientific research. I have n e v e r engaged in w h a t is termed " p r o d u c t i o n " ' . H o w e v e r , the k e y scientific principle o n w h i c h m a n y o f these inventions was based was a false assumption. Persistence of vision had b e e n k n o w n to the ancient Egyptians, but in spite of the w o r k of Isaac N e w t o n and the C h e v a l i e r d ' A r c y , it was not until 1824 that it was satisfactorily defined, by Peter M a r k R o g e t , as the ability of the retina to retain an image of an object for Ao to A of a second after its r e m o v a l from the field of vision. H o w e v e r , it has since b e e n s h o w n that film seems to m o v e because the brain, and n o t the e y e , is accepting stimuli w h i c h it is incapable | eng_Latn | 18,397 |
What did Earl John Montagu allegedly invent so that he could eat with one hand while playing cards with the other? | What Storytelling Does to Our Brains Written by Leo Widrich Nov 29, 2012 Last updated: Feb 1, 2016 5 minutes to read In 1748, the British politician and aristocrat John Montagu, the 4th Earl of Sandwich, used a lot of his free time for playing cards. One of the problems he had was that he greatly enjoyed eating a snack, whilst still keeping one hand free for the cards. So he came up with the idea to eat beef between slices of toast, which would allow him to finally eat and play cards at the same time. Eating his newly invented “sandwich,” the name for two slices of bread with meat in between, became one of the most popular meal inventions in the western world. Now you are very likely to never forget the story of who invented the sandwich. Or at least, much less likely to do so than if it had been presented in bullet points or another purely information based form. For over 27,000 years, since the first cave paintings were discovered, telling stories has been one of our most fundamental communication methods. Here is the science around storytelling and how we can use it to make better decisions every day: How our brains become more active when we tell stories We all enjoy a good story, whether it’s a novel, a movie or simply something one of our friends is explaining to us that they’ve experienced. But why do we feel so much more engaged when we hear a narrative about events? It’s quite simple. If we listen to a Powerpoint presentation with boring bullet points, certain parts in the brain get activated. Scientists call these Broca’s area and Wernicke’s area. Overall, it hits our language processing parts in the brain, where we decode words into meaning. And that’s it, nothing else happens. When we are being told a story, though, things change dramatically, according to researchers in Spain . Not only are the language processing parts in our brain activated, but any other area in our brain that we would use when experiencing the events of the story are too. If someone tells us about how delicious certain foods were, our sensory cortex lights up. If it’s about motion, our motor cortex gets active: “Metaphors like “The singer had a velvet voice” and “He had leathery hands” roused the sensory cortex. […] Then, the brains of participants were scanned as they read sentences like “John grasped the object” and “Pablo kicked the ball.” The scans revealed activity in the motor cortex, which coordinates the body’s movements.” A story can put your whole brain to work. And yet, it gets better: When we tell stories to others that have helped us shape our thinking and way of life, we can have the same effect on them too. The brains of the person telling a story and listening to it, can synchronize, says Uri Hasson from Princeton: “When the woman spoke English, the volunteers understood her story, and their brains synchronized. When she had activity in her insula, an emotional brain region, the listeners did too. When her frontal cortex lit up, so did theirs. By simply telling a story, the woman could plant ideas, thoughts and emotions into the listeners’ brains.” Anything you’ve experienced, you can get others to experience the same. Or at least, get their brain areas active, too: Evolution has wired our brains for storytelling – how to make use of it Now all this is interesting. We know that we can activate our brains better if we listen to stories. The still unanswered question is: Why is that? Why does the format of a story, where events unfold one after the other have such a profound impact on our learning? The simple answer is this: We are wired that way. A story, if broken down into the simplest form is a connection of cause and effect. And that is exactly how we think. We think in narratives all day long, no matter if it is about buying groceries, whether we think about work or our spouse at home. We make up (short) stories in our heads for every action and conversation. In fact, Jeremy Hsu found : “Personal stories and gossip make up 65% of our conversations.” Now, whenever we hear a story, we want to relate it to one of ou | Detail from: Michelangelo da Caravaggio, Supper at Emmaus; painted for Ciriaco Mattei in 1601-0 [HD] - YouTube Detail from: Michelangelo da Caravaggio, Supper at Emmaus; painted for Ciriaco Mattei in 1601-0 [HD] Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jul 3, 2014 Experience Michelangelo Merisi da Caravaggio's "Detail from: Michelangelo da Caravaggio, Supper at Emmaus; painted for Ciriaco Mattei in 1601-0" together with beautiful classical music, in HD quality! Painting title: Detail from: Michelangelo da Caravaggio, Supper at Emmaus; painted for Ciriaco Mattei in 1601-0 Painting date: um 1600 Painting artist: Michelangelo Merisi da Caravaggio Music: Mozart, String Quartet No. 19 in C Major, 1st Mvt. Performer: Musopen String Quartet You can download the classical music piece for free, at www.hdclassicalmusic.com . Audio ID: PA7 Video ID: CH478 From our research, this digital picture should be part of the Wikipedia Yorck Project public domain collection. If that is not the case, and we have made a mistake, please contact us at [email protected] . Also, if you have any suggestions regarding what paintings to publish next, or any other feedback, you can contact us at the same address! :) Category | eng_Latn | 18,398 |
Of what is pedology the study? | Pedology | Define Pedology at Dictionary.com Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012 Word Origin and History for pedology Expand n. "scientific study of the soil," 1924, from Greek pedon "ground, earth," from PIE root *ped- (see foot (n.)) + -logy . Related: Pedological. Earlier it was a word for "the study of children" (1894), from pedo- . Online Etymology Dictionary, © 2010 Douglas Harper | Fred Dinenage: Murder Casebook - Brides in the Bath Murders Extract - YouTube Fred Dinenage: Murder Casebook - Brides in the Bath Murders Extract Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Aug 25, 2011 A short clip from the episode about George Joseph Smith known as the Brides in the Bath Murderer. (C) Talent TV South. First broadcast on Crime and Investigation Network. Please visit www.talenttvsouth.com for more information or 'like' page at www.facebook.com/talenttvsouth. Category | eng_Latn | 18,399 |
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