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1
John, Harris. Moving rooms. New Haven [Conn.]: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2007.
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2
ill, Pilkington Brian, ed. Flowers on the roof. [Reykjavík]: Mál og menning, 1996.
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3
Roots and wings: Poems to my daughter : your growing up and moving away from home hasn't been easy for me. Boulder, Colo: Blue Mountain Press, 1996.
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4
Faithful and fearless: Moving feminist protest inside the church and military. Princeton, N.J: Princeton University Press, 1998.
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5
Ren shi hui dong de shu, dou you kan bu jian de gen = Humans are just like moving trees with invisible roots. Taibei Shi: Ren ben zi ran wen hua shi ye you xian gong si, 2012.
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6
(Composer), Sheldon Harnick, and Jerry Bock (Composer), eds. Fiddler on the Roof (MOVIE): Vocal Score. Hal Leonard Corporation, 2006.
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7
Moving Rooms: The Trade in Architectural Salvages (Paul Mellon Centre for Studies in British Art). Paul Mellon Centre BA, 2007.
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8
Kim, Monica. The Interrogation Rooms of the Korean War. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691166223.001.0001.
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Traditional histories of the Korean War have long focused on violations of the thirty-eighth parallel, the line drawn by American and Soviet officials in 1945 dividing the Korean peninsula. But this book presents an entirely new narrative, shifting the perspective from the boundaries of the battlefield to inside the interrogation room. The book demonstrates how the Korean War evolved from a fight over territory to one over human interiority and the individual human subject, forging the template for the US wars of intervention that would predominate during the latter half of the twentieth century and beyond. The book looks at how, during the armistice negotiations, the United States and their allies proposed a new kind of interrogation room: one in which prisoners of war could exercise their “free will” and choose which country they would go to after the ceasefire. The global controversy that erupted exposed how interrogation rooms had become a flashpoint for the struggles between the ambitions of empire and the demands for decolonization, as the aim of interrogation was to produce subjects who attested to a nation's right to govern. The complex web of interrogators and prisoners that the book uncovers contradicts the simple story in US popular memory of “brainwashing” during the Korean War. Bringing together a vast range of sources that track two generations of people moving between three continents, the book delves into an essential yet overlooked aspect of modern warfare in the twentieth century.
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Stephens, Piers. Environmental Political Theory and the Liberal Tradition. Edited by Teena Gabrielson, Cheryl Hall, John M. Meyer, and David Schlosberg. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199685271.013.22.
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This chapter discusses the history of environmental concern within the liberal tradition from the latter’s roots onwards, moving from the private property orientated “old liberalism” of John Locke into the self-development orientated “new liberalism” of John Stuart Mill, then onwards into American pragmatism and the neutralist liberalism of John Rawls and his contemporary followers. This leads into an overview of the current debate, which started in the 1990s, over the possibilities of synthesizing environmentalist goals of sustainability and nature protection with some variant of liberalism. The chapter concludes with an argument that yokes the new liberal concern with self-development to the environmentalist emphasis on nature protection, arguing that the continued existence of relatively untransformed nonhuman nature is a vital precondition and assistance to human imaginative development and thus freedom.
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Mazzolai, Barbara. Growth and tropism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199674923.003.0009.
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Plants or plant parts, such as roots or leaves, have the capacity of moving by growing in response to external stimuli with high plasticity and morphological adaptation to the environment. This chapter analyses some plant features and how they have been translated in artificial devices and control. A new generation of ICT hardware and software technologies inspired from plants is described, which includes an artificial root-like prototype that moves in soil imitating the sloughing mechanism of cells at the root apex level; as well as innovative osmotic-based actuators that generate movement imitating turgor variation in the plant cells. As future directions, new technologies expected from the study of plants concern energy-efficient actuation systems, chemical and physical microsensors, sensor fusion techniques, kinematics models, and distributed, adaptive control in networked structures with local information and communication capabilities.
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Harris, LaShawn. “I Have My Own Room on 139th Street”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040207.003.0005.
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This chapter explores black women's multilayered roles within New York's sex commerce, moving beyond widely accepted historical interpretations that position black sex laborers primarily as street solicitors. Identifying black women as madam-prostitutes, casual prostitutes, and sex-house proprietors and entrepreneurs, this chapter addresses the difficulties of documenting sex work within black communities, the broad socioeconomic conditions and personal circumstances outlining black women's entrance into the urban sexual economy, and the occupational benefits of indoor prostitution. In an attempt to avoid or limit their presence on New York streets, black sex workers—when the opportunity arose—sold and performed sexual services in furnished rooms and hotels, in their own homes, in massage parlors and nightclubs, and in other legitimate and illegitimate commercial businesses. Furthermore, indoor and residential sexual labor was significant to sex laborers' working and personal lives.
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Choinière, Manon, and M. Gabriella Pagé. Three determinants of pain. Edited by Paul Farquhar-Smith, Pierre Beaulieu, and Sian Jagger. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198834359.003.0008.
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Building on the foundations laid by the gate control theory, Melzack and Casey theorized in 1968 the existence of three separate, yet related determinants of pain: sensory–discriminative, affective–motivational, and cognitive–evaluative. These determinants have roots in separate neurophysiological pathways that modulate the pain experience. The importance of this paper lies in its theoretical contribution to our understanding of pain. Melzack and Casey’s seminal paper, written almost 50 years ago, is not only still contemporary, as evidenced by the internationally agreed upon definition of chronic pain (the IASP taxonomy) but has also contributed to moving from a biomedical understanding of pain to a biopsychosocial model of evaluating and treating pain. This conceptualization of pain continues to influence the way pain is evaluated and is the foundation of the use of non-pharmacological and non-interventional modalities for the treatment of pain (e.g. psychological techniques), and multidisciplinary approaches to pain treatment.
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Whitehead, Kevin. Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.001.0001.
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This book—both a narrative and a film directory—surveys and analyzes English-language feature films (and a few shorts and TV shows/movies) made between 1927 and 2019 that tell stories about jazz music, its musicians, its history and culture. Play the Way You Feel looks at jazz movies as a narrative tradition with recurring plot points and story tropes, whose roots and development are traced. It also demonstrates how jazz stories cut across diverse genres—biopic, romance, musical, comedy and science fiction, horror, crime and comeback stories, “race movies” and modernized Shakespeare—even as they constitute a genre of their own. The book is also a directory/checklist of such films, 67 of them with extensive credits, plus dozens more shorter/capsule discussions. Where jazz films are based on literary sources, they are examined, and the nature of their adaptation explored: what gets retained, removed, or invented? What do historical films get right and wrong? How does a film’s music, and the style of the filmmaking itself, reinforce or undercut the story?
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Hines, James R. Skating for an Audience. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039065.003.0008.
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This chapter discusses the evolution of show skating. Show skating is neither new nor unique. Its roots can be traced back farther than competitive skating. In Victorian England, gentlemen amateurs tell of interested observers who watched in amazement as they traced their figures, and they admit that their egos swelled with pride when spectators watched them go through their paces. That was amateur skating at its best, albeit with an element of showing off to those less skilled. Jackson Haines, however, skated professionally in the United States and Canada before moving permanently to Europe to continue his career. Thus, exhibition types of skating, from individuals showing off on local ponds to itinerant professionals were a part of the skating scene in the mid-nineteenth century. While the success of Haines' performances in Europe is legion, skating shows were popular in America as well. The importance of carnivals to the advancement of the sport cannot be overemphasized because they provided performance experience to skaters at all levels.
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Aguayo, Angela J. Documentary Resistance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.001.0001.
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The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and broadcasts circulating through unpredictable social networks, the documentary impulse is coming into its own as a political force of social change. The exploding reach and power of audio and video are multiplying documentary modes of communication. Once considered an outsider media practice, documentary is finding mass appeal in the allure of moving images, collecting participatory audiences that create meaningful challenges to the social order. Documentary is adept at collecting frames of human experience, challenging those insights, and turning these stories into public knowledge that is palpable for audiences. Generating pathways of exchange between unlikely interlocutors, collective identification forged with documentary discourse constitutes a mode of political agency that is directing energy toward acting in the world. Reflecting experiences of life unfolding before the camera, documentary representations help order social relationships that deepen our public connections and generate collective roots. As digital culture creates new pathways through which information can flow, the connections generated from social change documentary constitute an emerging public commons. Considering the deep ideological divisions that are fracturing U.S. democracy, it is of critical significance to understand how communities negotiate power and difference by way of an expanding documentary commons. Investment in the force of documentary resistance helps cultivate an understanding of political life from the margins, where documentary production practices are a form of survival.
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Borzu, Sabahi. Compensation and Restitution in Investor-State Arbitration. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199601189.001.0001.
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This book presents a detailed study on compensation and restitution in investor state arbitration pursuant to investment treaties. The study begins by examining the historical roots of the principles of reparation, restitution, and compensation in international law as reflected in the landmark Chorzów Factory case. The roots of these principles are traced to Roman law and private law concepts that entered into the European continent's legal systems. Moving to modern times, the study focuses on the principle of reparation set out in the Chorzów Factory case and its requirement that reparation put the aggrieved party in the ‘hypothetical position’ that would have existed if not for the wrongful act. Restitution, both material and judicial, is discussed as a form of reparation. Compensation, by far the more common form of reparation in modern international investment disputes, is discussed in detail. In dealing with compensation for expropriation, this book examines the recent trends in which lawful and unlawful expropriation cases are distinguished and the impact that this distinction can have on the amount of compensation. This book additionally outlines some of the main valuation and accounting methods used in setting the hypothetical position to measure compensation due. Various forms of supplemental compensation, such as moral damages, interest, or arbitration costs, may also be necessary to fully restore the hypothetical position; these are discussed along with applicable limitations. This study also sets out important principles that may limit compensation generally, such as causation and the prohibition on double counting.
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Beiner, Guy. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749356.003.0001.
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Questioning the inevitability of an inherent opposition between myth and history opens possibilities for rethinking our engagement with the past through the lens of ‘mythistory’. In the same vein, the concept of ‘vernacular historiography’ is introduced in relation to a number of related historiographical developments, namely: living history, history from below, people’s history, subaltern history, democratic history, ethnohistory, popular history, public history, applied history, everyday history, shared history, folk history, grass-roots history, as well as local and provincial history. In turn, the study of forgetting and of lieu d’oubli is identified as a new direction for advancing the field of Memory Studies and moving beyond our current understanding of lieux de mémoire. In particular, ‘social forgetting’, whereby communities try to supress recollections of inconvenient episodes in their past, is conceptualized as thriving on tensions between public reticence and muted remembrance in private. Finally, charting the forgetful remembrance of the 1798 rebellion in Ulster—known locally as ‘the Turn-Out’—is presented as an illuminating case study for coming to terms with social forgetting and vernacular historiography.
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Murray, Jonathan, and Nea Ehrlich, eds. Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.001.0001.
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Documentary cinema has always drawn from real life. However, an increasing number of contemporary filmmakers go further still, drawing onscreen images of reality through a range of animated filmmaking techniques and aesthetics. This book is the first of its kind, exploring the field of animated documentary film from a diverse range of scholarly and practice-based perspectives. The book’s chapters explore and propose answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: What are the historical roots of animated documentary? What kinds of reasons inspire practitioners to employ animation within documentary contexts? How do animated documentary images reflect and influence our understanding and experience of multiple forms of reality – public and private, psychological and political? From early cinema to present-day scientific research, military uses, digital art and gaming, this book casts new light on the capacity of the moving image to act as a record of the world around us, challenging many orthodox definitions of both animated and documentary cinema.
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Shaw, Daniel. Stanley Cavell and the Magic of Hollywood Films. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474455701.001.0001.
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Stanley Cavell’s writings on film as a visual medium, and as making myths that address our scepticism about the values that allow us to see everyday life worth living, are emerging as highly influential in the burgeoning area of aesthetics that deals with the philosophy of film. The intent of this book is to trace the philosophical roots of his world view, summarize his general approach to the filmic medium, explain his genre theories, and offer original readings of types of film which are different from the comedies and melodramas that he spoke of most extensively. Throughout, I will be addressing his answer to the question “What do the Movies do best?”: of all the arts, the filmic medium is best at persuading its viewers to believe in the values it embodies. The book champions Cavell’s approach to philosophizing about film, as the most healthy and fruitful paradigm for discussing film in a philosophical context.
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Steane, Andrew. What Science Can and Cannot Do. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824589.003.0010.
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The main limits of science are discussed. First the history of science is sketched; this should take into account social and political developments, as well as the history of ideas. Science itself aspires to give an account of anything and everything. This may make one suspect that there is nothing else to add. This would be a false conclusion, for various reasons. First, science cannot account for either the roots or the purpose of things. Secondly, even a description that is complete in its own terms, may nevertheless lack a central insight, like the attempt to describe images on a movie screen purely in the language of two-dimensional geometry. Finally, the whole approach of analytical discourse is not adequate to engage with all aspects of reality, such as the experience of friendship. A different approach is required, involving the whole self, and investing one’s very identity partly in another.
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Haywood, D'Weston. Let Us Make Men. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469643397.001.0001.
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This book conducts a close, gendered reading of the modern black press to reinterpret it as a crucial tool of black men’s leadership, public voice, public image, gender and identity formation, and a space for the construction of ideas of proper masculinity that shaped the long twentieth-century black freedom struggle to promote a fight for racial justice and black manhood. Moving from the turn of the twentieth century to the rise of black radicalism, the book argues that black people’s ideas, rhetoric, and strategies for protest and racial advancement grew out of a quest for manhood led by black newspapers. Drawing on discourse theory and studies of public spheres to examine the Chicago Defender, Crisis, Negro World, Crusader, and Muhammad Speaks and their publishers during the Great Migration, New Negro era, Great Depression, civil rights movement, and urban renewal, this study engages the black press at the complex intersections of gender, ideology, race, class, identity, urbanization, the public sphere, and black institutional life. Departing from typical histories of black newspapers and black protest that examine the long roots of black political organizing, this book makes a crucial intervention by advancing how black people’s conceptions of rights and justice, and their activism in the name of both, were deeply rooted in ideas of redeeming Black men, prioritizing their plight on the agenda for racial advancement. Yet, the black press produced a highly influential discourse on black manhood that was both empowering and problematic for the long black freedom struggle.
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Sutherland, Doris V. The Mummy. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325956.001.0001.
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Released in 1932, The Mummy moved Universal horror away from the Gothic Europe of Dracula and Frankenstein and into a land of deserts, pyramids, and long-lost tombs. In doing so, the film continued a tradition of horror fiction that is almost as old as the Western pursuit of Egyptology, as numerous European and American authors from the nineteenth and early twentieth centuries had portrayed Egypt as a place of mystery and magic. This book examines the roots of The Mummy. It shows how the film shares many of its motifs with the work of writers such as Bram Stoker, Arthur Conan Doyle, and H. Rider Haggard, whose tales of living mummies, immortal sorcerers, and Egyptian mysticism bear strong resemblances to Universal's movie. In addition, the book discusses how The Mummy drew upon a contemporary vogue for all things ancient Egyptian: the tomb of Tutankhamun was discovered the decade before the film was released, prompting sensationalistic rumours of a curse. This is the story of what happened when Hollywood horror went to Egypt.