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Journal articles on the topic 'David (1930-2003)'

Author: Grafiati
Published: 22 June 2024
Last updated: 31 July 2025

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1

Werner, Jayne. "The Vietnamese War: Revolution and Social Change in the Mekong Delta, 1930–1975. By David W. P. Elliott. 2 vols. Armonk, N.Y.: M. E. Sharpe, 2003. xxii, 1,547 pp. $140.99 (cloth)." Journal of Asian Studies 63, no. 4 (2004): 1196–98. http://dx.doi.org/10.1017/s0021911804003146.

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Lockhart, Bruce M. "Vietnam The Vietnamese war: Revolution and social change in the Mekong Delta 1930–1975 By David W. P. Elliott Armonk, NY and London: M.E. Sharpe, 2003. 2 v. Pp. 1547. Bibliography, Appendices, Maps, Notes, Index." Journal of Southeast Asian Studies 39, no. 2 (2008): 325–27. http://dx.doi.org/10.1017/s002246340800026x.

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Athanassoglou‐Kallmyer, Nina. "Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880–1930. By Roger Benjamin. Berkeley: University of California Press, 2003. Pp. xxii+352. $49.95.Renoir and Algeria. By Roger Benjamin, with an essay by, David Prochaska. New Haven, CT: Yale University Press; Williamstown, MA: Sterling and Francine Clark Art Institute, 2003. Pp. xi+163. $45.00." Journal of Modern History 77, no. 2 (2005): 439–41. http://dx.doi.org/10.1086/431846.

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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.

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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of th
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Salvaro, Cesar Bresolin, Denise Macedo Ziliotto, and Daiane Pinheiro. "Práticas e recursos pedagógicos na educação profissional de alunos com deficiência (Pedagogical practices and resources in the professional education of students with disabilities)." Revista Eletrônica de Educação 15 (November 30, 2021): e4913062. http://dx.doi.org/10.14244/198271994913.

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e4913062Professional education, initially called industrial education, was instituted in the country in 1909 and according to the Law of Guidelines and Bases, it aims to prepare for the exercise of professions.Professional education of students with disabilities would seek the development of their potentials on the citizenship exercise;describedNational Policy on Special Education in the Inclusive Education Perspective, needs to offer and ensure services related to special education for its public. The research focuses on the pedagogical practices and resources analysis present in students wit
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Germani, Ian. "Rising to the Challenge: Historians and the “Impossible” History of ParisParis: Deux mille ans d’histoire, by Jean Favier. Paris, Fayard, 1997. 1007 pp. 32.00€ (paper).Seven Ages of Paris, by Alistair Home. New York, Alfred A. Knopf, 2002. 480 pp. $35.00 US (cloth), $16.00 US (paper).Paris: Biography of a City, by Colin Jones. London, Allen Lane, 2004. 592 pp. $29.95 US (cloth), $18.00 US (paper).Paris, Capital of Modernity, by David Harvey. New York, Routledge, 2003. 384 pp. $25.00 US (cloth).Planning Paris Before Haussmann, by Nicholas Papayanis. Baltimore, Johns Hopkins University Press, 2004. 352 pp. $55.00 US (cloth).We’ll Always Have Paris: American Tourists in France since 1930, by Harvey Levenstein. Chicago, University of Chicago Press, 2004. 368 pp. $35.00 US (cloth)." Canadian Journal of History 40, no. 3 (2005): 479–90. http://dx.doi.org/10.3138/cjh.40.3.479.

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7

Lima Saraiva, Raisa Christina. "Imagens ausentes e rememoração nos diários de David Perlov." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 13, no. 2 (2024). https://doi.org/10.22475/rebeca.v13n2.1045.

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O filme Diário 1973-1983 (1983), obra documental de David Perlov (1930-2003), apresenta momentos da vida do cineasta ao longo de uma década, residindo com a família em Tel Aviv, onde trabalhou como realizador de cinema e professor universitário, e também viajando eventualmente para outras cidades em Israel e arredores, bem como para a Europa e o Brasil. O filme consiste em seis partes de 55 minutos cada, nas quais se imbricam o cotidiano particular do artista, na intimidade do lar, e a dinâmica pública das cidades e seus contextos sócio-políticos. Neste ensaio, investiga-se as imagens ausentes
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8

BARCALA, Débora Ballielo. "UMA ANÁLISE COMPARADA DE FLANNERY O’CONNOR E LYA LUFT." Trama 15, no. 36 (2019). http://dx.doi.org/10.48075/rt.v15i36.22350.

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O presente trabalho tem por objetivo apresentar uma análise comparada das personagens femininas Hulga/Joy do conto “Good Country People” (1955), de Flannery O’Connor, e Dolores/Dôda do romance O tigre na sombra (2012), de Lya Luft, em uma aproximação inédita. As semelhanças entre as personagens vão desde a deformidade física e a complicada relação mãe-filha, até a duplicidade de nomes e a percepção de si mesmas como seres ambivalentes. Apesar de viverem conflitos e experiências diferentes, ambas as personagens retratam experiências vividas por muitas mulheres em sociedades patriarcais. Assim,
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9

Nijhawan, Amita. "Damning the Flow." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2646.

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 Deepa Mehta first attempted to shoot her film Water in the year 2000, in Varanasi, a holy city hanging on the edge of the Ganges in East-Central India. A film about the anguish of widows in 1930’s India, where widowhood was in many parts of the country taken to be a curse, an affliction that the widow paid penance for by living in renunciation of laughter and pleasure, Water points not only to the suffering of widows in colonial India but to the widow-house that still exists in Varanasi and houses poor widows in seclusion and disgrace, away from the community. The film ope
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Raney, Vanessa. "Where Ordinary Activities Lead to War." M/C Journal 9, no. 3 (2006). http://dx.doi.org/10.5204/mcj.2626.

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 “The cop in our head represses us better than any police force. Through generations of conditioning, the system has created people who have a very hard time coming together to create resistance.” – Seth Tobocman, War in the Neighborhood (1999)
 
 
 Even when creators of autobiographically-based comics claim to depict real events, their works nonetheless inspire confrontations as a result of ideological contestations which position them, on the one hand, as popular culture, and, on the other hand, as potentially subversive material for adults. In Seth Tobocma
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11

Polain, Marcella Kathleen. "Writing with an Ear to the Ground: The Armenian Genocide's "Stubborn Murmur"." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.591.

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1909–22: Turkey exterminated over 1.5 million of its ethnically Armenian, and hundreds of thousands of its ethnically Greek and Assyrian, citizens. Most died in 1915. This period of decimation in now widely called the Armenian Genocide (Balakian 179-80).1910: Siamanto first published his poem, The Dance: “The corpses were piled as trees, / and from the springs, from the streams and the road, / the blood was a stubborn murmur.” When springs run red, when the dead are stacked tree-high, when “everything that could happen has already happened,” then time is nothing: “there is no future [and] the
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12

Mudie, Ella. "Disaster and Renewal: The Praxis of Shock in the Surrealist City Novel." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.587.

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Introduction In the wake of the disaster of World War I, the Surrealists formulated a hostile critique of the novel that identified its limitations in expressing the depth of the mind's faculties and the fragmentation of the psyche after catastrophic events. From this position of crisis, the Surrealists undertook a series of experimental innovations in form, structure, and style in an attempt to renew the genre. This article examines how the praxis of shock is deployed in a number of Surrealist city novels as a conduit for revolt against a society that grew increasingly mechanised in the clima
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13

Lund, Curt. "For Modern Children." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2807.

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“...children’s play seems to become more and more a product of the educational and cultural orientation of parents...” — Stephen Kline, The Making of Children’s Culture We live in a world saturated by design and through design artefacts, one can glean unique insights into a culture's values and norms. In fact, some academics, such as British media and film theorist Ben Highmore, see the two areas so inextricably intertwined as to suggest a wholesale “re-branding of the cultural sciences as design studies” (14). Too often, however, everyday objects are marginalised or overlooked as objects of s
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14

Woodward, Kath. "Tuning In: Diasporas at the BBC World Service." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.320.

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Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office
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15

Nairn, Angelique, and Deepti Bhargava. "Demon in a Dress?" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2846.

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Introduction The term monster might have its roots in the Latin word monere (to warn), but it has since evolved to have various symbolic meanings, from a terrifying mythical creature to a person of extreme cruelty. No matter the flexibility in use, the term is mostly meant to be derogatory (Asma). As Gilmore puts it, monsters “embody all that is dangerous and horrible in the human imagination” (1). However, it may be argued that monsters sometimes perform the much-needed work of defining and policing our norms (Mittman and Hensel). Since their archetype is predisposed to transgressing boundari
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16

King, Emerald L., and Denise N. Rall. "Re-imagining the Empire of Japan through Japanese Schoolboy Uniforms." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1041.

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Introduction“From every kind of man obedience I expect; I’m the Emperor of Japan.” (“Miyasama,” from Gilbert and Sullivan’s musical The Mikado, 1885)This commentary is facilitated by—surprisingly resilient—oriental stereotypes of an imagined Japan (think of Oscar Wilde’s assertion, in 1889, that Japan was a European invention). During the Victorian era, in Britain, there was a craze for all things oriental, particularly ceramics and “there was a craze for all things Japanese and no middle class drawing room was without its Japanese fan or teapot.“ (V&A Victorian). These pastoral depictions
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