Relevant bibliographies by topics / Tan, Shaun

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Tan, Shaun'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Tan, Shaun"

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Nabizadeh, Golnar. "Questions for Shaun Tan." Journal of Graphic Novels and Comics 5, no. 3 (2014): 361–65. http://dx.doi.org/10.1080/21504857.2014.943546.

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Coats, Karen. "Cicada by Shaun Tan." Bulletin of the Center for Children's Books 72, no. 4 (2018): 183. http://dx.doi.org/10.1353/bcc.2018.0868.

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Nabizadeh, Golnar. "An interview with Shaun Tan." Studies in Comics 9, no. 2 (2018): 333–42. http://dx.doi.org/10.1386/stic.9.2.333_1.

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Abou Ghaida, Susanne. "The Arrival. By Shaun Tan." Migration Studies 9, no. 2 (2021): 318–21. http://dx.doi.org/10.1093/migration/mnab011.

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Coats, Karen. "Rules of Summer by Shaun Tan." Bulletin of the Center for Children's Books 67, no. 11 (2014): 599–600. http://dx.doi.org/10.1353/bcc.2014.0527.

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Marie, Vincent. "Là où vont nos pères de Shaun Tan." Hommes & migrations, no. 1297 (May 1, 2012): 78–86. http://dx.doi.org/10.4000/hommesmigrations.1549.

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Earle, Harriet. "Strange migrations: An essay/interview with Shaun Tan." Journal of Postcolonial Writing 52, no. 4 (2016): 385–98. http://dx.doi.org/10.1080/17449855.2016.1219139.

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Coats, Karen. "Tales from the Inner City by Shaun Tan." Bulletin of the Center for Children's Books 72, no. 2 (2018): 95–96. http://dx.doi.org/10.1353/bcc.2018.0717.

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Johansen, Martin Blok. "“Darkness Overcomes You”: Shaun Tan and Søren Kierkegaard." Children's Literature in Education 46, no. 1 (2014): 38–52. http://dx.doi.org/10.1007/s10583-014-9226-y.

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Jang, Eun-Young. "Consideration of Metaphors Appeared on Shaun Tan's 3D Short Animation,." Cartoon and Animation Studies s23, no. 1 (2011): 1–17. http://dx.doi.org/10.7230/koscas.2011.23.1.001.

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Dissertations / Theses on the topic "Tan, Shaun"

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SOUZA, Eduardo Antonio Barbosa de Moura. "O estranhamento nos livros ilustrados de Shaun Tan." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/23542.

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Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2018-02-06T17:11:46Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) SOUZA Eduardo A B M - Design 2016.pdf: 5657102 bytes, checksum: 506267ae5af622367c4d0a644ca88b49 (MD5)<br>Made available in DSpace on 2018-02-06T17:11:46Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) SOUZA Eduardo A B M - Design 2016.pdf: 5657102 bytes, checksum: 506267ae5af622367c4d0a644ca88b49 (MD5) Previous issue date: 2016-07-29<br>CAPES<br>Este trabalho busca identificar, nos livros ilustrados de Shaun Tan, os procedimentos artísticos e suas relações com objetivo de causar estranhamento. Assim, através da aproximação teórica e metodológica com a literatura e a arte, propõe-se a ampliar o estudo do estranhamento através do design, expandindo o campo ao colaborar com a discussão dos procedimentos artísticos em geral. Além disso, contribui com o estudo dos livros ilustrados ao lhes lançar um olhar estético e lhes conferir autonomia como um modo de experimentação pictórica e narrativa para ilustradores, artistas e autores. Para responder à problemática, no primeiro capítulo, buscamos particularizar o sentido de estranhamento ao traçar uma genealogia de conceitos e autores associados ao fenômeno cognitivo de estranhar. A seguir, exploramos as principais correntes estéticas modernas e seus conceitos: a alienação, o inquietante e o ostranenie. Em específico, expomos releituras mais recentes do ostranenie – proposto por Victor Shklovsky – que enfatizam suas implicações éticas e políticas em oposição às leituras estruturalistas vigentes até fins do século xx. O segundo capítulo inicia-se pela discussão do conceito de medium, ao adotar a acepção teórica do Formalismo Russo, a fim de defender que os livros ilustrados e os comics são categorias que operam segundo parâmetros das narrativas gráficas. Por fim, estabelecemos as propriedades do medium com o objetivo de explicitar os dispositivos das obras nas análises do capítulo 4. No terceiro capítulo, apresentamos Shaun Tan a fim de investigar os modos como sua produção articula significados entre o mundo e a arte. Através de sua trajetória artística, compreendemos as circunstâncias e motivações pessoais, e ao explorar seus processos pictóricos e seu imaginário, visualizamos suas motivações estéticas que resultam em imagens que compreendem visões de mundo. Por fim, analisamos três obras a partir de diferentes relações entre texto e imagem: A Árvore Vermelha (2001), A Chegada (2006) e Contos de Lugares Distantes (2008). Subjacente às suas especificidades, os livros ilustrados de Shaun Tan apresentam procedimentos de estranhamento, pois são capazes de realizar o fantástico e estranhar o banal, possibilitando que o leitor “trans-viva” a experiência através da percepção poética desencadeada pela obra.<br>This graduate thesis aims to identify the artistic devices and their relations on Shaun Tan's picturebooks which are directed to cause estrangement. Thus, by drawing theoretical and methodological relations with Literature and Art, we propose to expand research on the concept of estrangement within the field of Design, broadening its scope on the collaboration of discussions regarding artistic devices in general. Besides, it supports picturebooks studies by an aesthetic approach and conveying autonomy as a mode of pictorial and narrative experimentations for illustrators, artists and authors. To answer our research problem, on the first chapter, we aim to particularize the meaning of estrangement by establishing a genealogy of concepts and authors related to the cognitive phenomenon of estranging. Next, we delve into the main modern aesthetic currents and their concepts: alienation, the uncanny and ostranenie. Specifically, we look over Viktor Shklovsky's recent readings that emphasize the concept's ethical and political implications as opposed to prevailing structuralist readings up to the end of the 20th century. Then, we begin the second chapter by discussing the concept of medium and follow Russian Formalism's meaning in order to argue for the idea that picturebooks and comics are categories that operate according to the parameters of graphic narratives. Then, we establish the properties of the medium aiming to expound their devices on the analyses. On the third chapter, we present Shaun Tan in order to consider the ways that his works relate life and art. Through his artistic path, we understand the circumstances and personal motivations, and by exploring his pictorial techniques and his imagery, we visualize his aesthetic motivations that develop images that comprehend worldviews. At last, we analyze three picturebooks according to their relations between picture and text: The Red Tree (2001), The Arrival, (2006) and Tales from Outer Suburbia (2008). Underlying their specificities, Shaun Tan's picturebooks display devices of estrangement for they are able to realize the fantastic and estrange the mundane, allowing the reader to "trans-live" the experience through the poetic perception unlocked by the work of art.
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Lebedeva, Maria. "A play of signifiers : absence and presence in the picturebooks of Shaun Tan." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79950.

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Thesis (MA)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This thesis is an exploratory study into the signification potential of contemporary, postmodern picturebooks, specifically focusing on the way in which a seemingly 'simplistic' medium has the potential to initiate a vastly complex play of meanings. Picturebooks are traditionally considered to be a medium which implies a child reader, and conveys a simple linear narrative for educational and entertainment purposes. Traditional picturebooks thus assume a clear division between an author and reader, whereby the author is a 'knowing' adult, who conveys a moral or message to a passive child reader. These assumptions are arguably unsettled by the appearance of postmodern picturebooks, broadly defined as a medium which, while retaining the traditional picturebook format, opens itself up to multiple interpretations, instead of presenting the reader with an encoded message or 'meaning'. A number of postmodern picturebook authors, such as Shaun Tan, intentionally subvert the traditional dynamic between the author and reader of picturebooks by creating complex texts which display a general absence of clear accessible 'meaning', thereby allowing the reader to actively participate in the meaning-making process. With aid of the theories of signification set out by poststructuralist Jacques Derrida, this study aims to illustrate how a purposeful absence of apparent 'meaning' in picturebooks has the potential to allow for unlimited interpretations of a single text, thus by extension widening the 'implied' audience of such picturebooks. The objective is to set postmodern picturebooks apart from other texts (in particular more traditional picturebooks), and to provide a new outlook on the ways picturebooks are created, and the way they are read.<br>AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoekende studie na die betekenispotensiaal van kontemporêre, post-moderne prenteboeke, met spesiale verwysing na die manier waarop 'n sogenaamde “simplistiese” medium die potensiaal openbaar om 'n hoogs-komplekse verskeidenheid betekenisse te ontlok. Prenteboeke word tradisioneel gesien as 'n medium van eenvoudige, liniêre vertellings gerig op die jong leser met die doel om op te voed of te vermaak. Tradisionele prenteboeke handhaaf dus 'n duidelike afbakening tussen die leser en die outeur, die sogenaamde “alwetende” volwassene, wat 'n morele les/ boodskap aan 'n passiewe, jong leser oordra. Hierdie veronderstelling word egter omvergewerp deur die verskyning van die post-moderne prenteboek wat, alhoewel in die tradisionele formaat van die prenteboek gegiet, die leser die geleentheid bied om veelvoudige interpretasies te maak in plaas van om net die beoogde geënkodeerde betekenis of boodskap van die boek te aanvaar. 'n Aantal post-moderne prenteboekskrywers soos Shaun Tan het die tradisionele dinamiek tussen prenteboekskrywer en -leser bewustelik omver kom werp deur komplekse teks te skep wat gekenmerk word aan die afwesigheid van 'n duidelik waarneembare betekenis en wat die leser dus toelaat om aktief deel te neem aan die interpretasieproses. Die doel van hierdie studie is om met behulp van die betekenispotensiaal-teorie, soos uiteengesit deur post-strukturalis Jacques Derrida, te illustreer hoe die doelbewuste weglating van 'n duidelik waarneembare betekenis of boodskap dit moontlik maak om die teks op veelvoudige maniere te interpreteer en daarmee saam ook die lesersprofiel van prenteboeke te verbreed. Die hoofdoel van hierdie studie is dus om die post-moderne prenteboek te onderskei van die tradisionele prenteboek en ander tekste en om nuwe waarnemings en insigte te verskaf in die wyse waarop prenteboeke geskep en gelees word.
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Gras, Isabelle. "La métaphore dans les albums de Shaun Tan : concepts, modes d’expression et réception par les enfants." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30043.

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La métaphore visuelle constitue un procédé récurrent dans les albums de Shaun Tan qui l’utilise pour interroger le regard, dans une démarche inspirée par le surréalisme. S’appuyant sur la théorie de la métaphore conceptuelle de Lakoff et Johnson, cette thèse considère la métaphore comme un processus de construction du sens. L’approche systémique fonctionnelle de l’image de Kress et van Leeuwen permet de dégager les liens entre les procédés visuels et le sens, et les métaphores visuelles sont analysées à partir des catégories déterminées par Forceville. L’étude des métaphores de Tan révèle que ce processus de pensée et son expression visuelle permettent à un public allant de l’adulte à l’enfant d’accéder au sens non littéral des albums. Les métaphores contextuelles des USA et de l’Australie dénoncent les choix de la société contemporaine en matière de migration, sous la forme d’une fable dans The Lost Thing ou d’un roman graphique utopique dans The Arrival tandis que les métaphores verbo-picturales de Tales from Outer Suburbia questionnent la relation entre l’homme, l’animal et la nature. The Red Tree et Rules of Summer développent une réflexion sur les émotions et les relations humaines, à travers les métaphores conceptuelles de la dépression, et les représentations des codes sociaux dans les jeux partagés par deux frères. L’étude de Rules of Summer dans une classe de maternelle montre que de jeunes enfants perçoivent l’inadéquation de l’interprétation littérale de nombreux éléments ou de scènes représentés et cherchent à justifier leurs interprétations. Les images de Tan peuvent ainsi être mises à profit pour construire la compétence métaphorique chez l’enfant<br>Visual metaphor represents a recurrent process in Shaun Tan’s picture books as he uses it to question the reader’s gaze, in a way reminiscent of surrealism. Drawing on Lakoff and Johnson’s conceptual metaphor theory, this thesis considers metaphor as a meaning making process. Kress and van Leeuwen’s systemic functional approach to images accounts for the links between visual processes and meaning, and Forceville’s categories provide a basis to analyze the visual metaphors. The study of Tan’s metaphors reveals that this thinking process and its visual expression make it possible for readers ranging from adults to children to access the non literal meaning of his albums. Contextual metaphors of the USA and Australia denounce contemporary society’s choices regarding migration, through a fable in The Lost Thing or a utopic graphic novel in The Arrival. In Tales from Outer Suburbia, verbo-pictural metaphors question the relationship between men, animals and nature. Emotions and human relationships are evoked and questioned through conceptual metaphors of depression in The Red Tree, and metaphorical representations of social codes through the games shared by two brothers, in Rules of Summer. A study of Rules of Summer in Kindergarten shows that young children perceive the inadequacy of a literal interpretation for many of the represented elements or scenes, and that they try to justify their interpretations. Tan’s images can thus successfully contribute to developing the metaphorical competence of children
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Ullerud, Catharina. "Utan ord - En granskning av Shaun Tans verk Ankomsten, ur ett visuellt semiotiskt perspektiv." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23070.

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Detta arbete undersöker om det går att förklara varför bilder i Shaun Tans bok Ankomsten upplevs som obehagliga. Teorin i uppsatsen grundar sig till stor del på ”das unheimlich”, ett uttryck myntat av Freud och som i uppsatsen beskrivs som det kusliga. Andra teorier är kognitiv dissonans och hyperbol. För att analysera bilderna definieras frågor baserade på teorins grundpunkter. I resultatet visar det sig att nästan alla bilder är länkade till det kusliga, ibland i kombination med andra teorier. Det görs också analyser om huruvida objektens skala och proportioner kan ha en inverkan eller inte, baserat på ”grodperspektivet”. I analysen görs även några liknelser till propagandaposters från andra världskriget, vilket länkas till ”mentala triggers”. I slutsatsen konstateras det att arbetet kunde blivit utförligare om det under forskningen funnits fler anledningar till obehag som kan länkas till bilderna. Det fanns även ett problem med att förklara varför många upplever vissa saker som obehagliga och dessa fick refereras till fobier, även om detta inte helt stämmer, och upplevelserna egentligen kan beskrivas som rädslor. För vidare forskning föreslås fokusgrupper för att testa uppfattningar med en kvantitativ metod samt att analysera historien utifrån ett genusperspektiv där huvudrollen i stället hade varit en kvinna.<br>This paper investigates if it is possible to explain why pictures in Shaun Tans book The Arrival are experienced as unpleasant. The theory of the essay is mainly based on "das unheimlich" coined by Freud and is in the essay described as “uncanny”. Other theories are based on cognitive dissonance and hyperbole. In order to analyse the images content, questions based on the basic points of the theories are defined. As a result, it turns out nearly all pictures are linked to uncanny, sometimes in combination with other theories. Analyses regarding if scale and proportions of objects can make an impact are also made, based on the "frog perspective". Some similarities between images in “The Arrival” and propaganda posters from World War II can be observed, which can be linked to mental triggers. In the discussions, it is made clear that the research could have developed further if more reasons for discomfort were investigated while observing the images. There was also a problem with explaining why many observers are experiencing some elements as unpleasant and these elements are in the paper referred to as phobias, even though this not quite accurate and should be referred to as fears. In order to carry on further research, focus groups are suggested to test perceptions with a quantitative method. Also, to look at the story from a gender perspective, and to see what would be different if the main character was a female.
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Johnson, Hanna. "Narrative Perspective in a Wordless Graphic Novel: Shaun Tan's The Arrival." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-164813.

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In a narrative the narrator tells the story, and the focalizer is a character through whose eyes the story is seen. The narrator is thus the one who speaks, whilst the focalizer is silent. The identification of these two narratological features is made with the help of verbal cues such as personal pronouns for instance. Determining the narrator and the focalizer can sometimes be challenging due to ambiguous cues in the analyzed text, as well as narratological aspects which at times can be difficult to distinguish from each other. Determining the narrator and the focalizer in graphic narratives (comics) with no narrative voice, or which completely lack words, must be done with the help of pictorial cues instead. In this thesis, Shaun Tan’s wordless graphic narrative The Arrival is used in order to show how the narrator and the focalizer can be determined by combining pictorial cues with the reader’s general knowledge of storytelling as well as his or her experiences from real life scenarios. To analyze narratological features in The Arrival, I employ terminology from comics studies, literary and film narratology. My analysis shows that determining the narrator and the focalizer in narratives lacking explicit narrative voice is possible by using only pictorial cues.
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Nolan, J. E. "Investigations on Gor-Kan-Shan-Lien-Tan, a Chinese herbal medicine." Thesis, Cardiff University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372346.

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范德禮 and Tak-lai Terry Fan. "Tao Fong Shan Christian Centre: a sustainablelandscape development." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31980569.

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Cheng, Ka-for, and 鄭嘉科. "Revitalization of Ladder Street in Tai Ping Shan Town." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31983832.

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Cheng, Ka-for. "Revitalization of Ladder Street in Tai Ping Shan Town." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595636x.

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Fan, Tak-lai Terry. "Tao Fong Shan Christian Centre : a sustainable landscape development /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950599.

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Books on the topic "Tan, Shaun"

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Zhubajie tan shan. Xin ya wen hua shi ye you xian gong si, 2001.

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1960-, Yang Xudong, ed. Shan shui qu tan. Zhonghua shu ju, 2010.

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Sun, Minji. Zhe shan tan hua. Xian dai chu ban she, 2003.

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Chao Shan feng wu tan. Zhonghua shu ju, 1992.

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Huimin, Feng, and Shen Xilin, eds. Tie wei shan cong tan. Zhonghua shu ju, 1993.

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"Shan hai jing" xin tan. Sichuan sheng she hui ke xue yuan chu ban she, 1986.

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Qingshan, He, and Shen Hui, eds. Huang Shan zong heng tan. Shanghai ren min chu ban she, 1985.

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Zhonghua shan wen hua man tan. Guizhou min zu chu ban she, 2005.

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Xue shan ming jiang Tan Guansan. 2nd ed. Zhongguo Zang xue chu ban she, 2001.

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Lingnan wen ku bian ji wei yuan hui. and Guangdong Zhonghua min zu wen hua cu jin hui., eds. Chao Shan xian min tan yuan. Guangdong ren min chu ban she, 2006.

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Book chapters on the topic "Tan, Shaun"

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Nabizadeh, Golnar. "Migrant memories in Henry Yoshitaka Kiyama’s The Four Immigrants Manga and The Arrival by Shaun Tan." In Representation and Memory in Graphic Novels. Routledge, 2019. http://dx.doi.org/10.4324/9781315605418-2.

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Chen, Xiaoman, and Bing Zhu. "Monthly Profit Development Analysis Using SD Model: Shun Tai Hotel as an Example." In LISS 2014. Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-43871-8_80.

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Forceville, Charles. "Case Studies–Comics." In Visual and Multimodal Communication. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190845230.003.0010.

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The antecedents of the genre of comics and graphic novels could be dated as far back as Christ’s Stations of the Cross in numerous churches, but the genre of “sequential art’ ” (Will Eisner 2006 [1985]) really took off in the late 19th century and was baptized the “ninth art” in the course of the 20th. It typically consists of visuals combined with written language. Comics sport a number of visual elements that are to be decoded rather than inferred by the reader-viewer, such as pictograms, balloons, and motion and emotion lines. Moreover, the audience of comics is expected to be familiar with meaning-generating mechanisms such as onomatopoeia and the “gutter,” and to understand how to navigate from panel to panel. Comics artists help their audience achieve relevance by tapping into these readers/viewers’ knowledge of narrative codes and conventions. These include the three classic mechanisms of surprise, suspense, and curiosity, and the distinction between omniscient (or external) narrators and character-narrators. The case studies include panels or sequences from work by Hergé, Shaun Tan, Peter de Wit, Lewis Trondheim, Guy Delisle, Johanna Sinisalo and Hannu Mänttäri, and Alan Moore and Dave Gibbons, as well as IKEA instructions on a do-it-yourself (DIY) package. The chapter shows how achieving relevance requires appropriate reference assignment, enrichment, broadening or narrowing assumptions, processing loose visuals, correctly adducing implicated premises, and generating explicatures and implicatures.
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Scolieri, Paul A. "Introduction: Firsts and Foremost." In Ted Shawn. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0001.

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This chapter introduces the reader to Ted Shawn and to the reasons his life deserves a critical reappraisal. It examines how a narrative of his life was constructed over his more than fifty years in the public eye, including the compromising depictions of him in the biographies of his wife Ruth St. Denis and his most famous student Martha Graham. It also considers his many own attempts to write about his life, especially his memoir One Thousand and One Night Stands (1960). The chapter argues that homophobia (including Shawn’s own) clouded the narrative of Shawn’s life and obscured his place in dance history and thus proposes a reconsideration of his life, writings, and dances based on sources that had thus far not been given full consideration.
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Nicolson, Ken. "Tai O Village." In Landscapes Lost and Found. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789622093393.003.0005.

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Case study 4: TaI O Village is a scenic, stilted fishing village which is an excellent example of an organically evolved and associative cultural landscape. In addition to fishing, Tai O was renowned for its salt pans and production of shrimp paste. The physical fabric of the village is largely intact despite many threats and pressures for change over many generations. Despite recent attempts by government authorities to ‘revitalise’ the village for tourism, resettle the villagers from the stilt houses, as well as natural disasters, such as, typhoons, flooding, and devastating fires, the villagers have a very strong bond that allows them to rebound after each setback with a passion for conserving their way of life. Tai O offers a valuable contrast to the fortunes of Ping Shan and underlines the importance of adopting an integrated approach to conservation that ensures that the policy, planning, and project levels of intervention put the interests and aspirations of residents first.
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"28 The Curse of Tai Ping Shan." In Atlas. Columbia University Press, 2012. http://dx.doi.org/10.7312/dung16100-028.

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"Tai Shan, Green Peak-of-the-East." In Sacred 5 Of China. Routledge, 2014. http://dx.doi.org/10.4324/9781315828084-8.

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Lagerwey, John. "SEVEN. The Pilgrimage to Wu-tang Shan." In Pilgrims and Sacred Sites in China. University of California Press, 1992. http://dx.doi.org/10.1525/9780520911659-010.

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Marks, Laura Helen. "Introduction." In Alice in Pornoland. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042140.003.0001.

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Sexually repressed Victorian England is the fertile crescent of sexual deviance. —Shaun Costello, adult filmmaker Although our society today is relatively liberated, Victorian ideas about sex are still there lurking underneath—like a seam of coal tar that can be mined and used to fuel the lamps of today’s sexual imagination....
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Paterson, Eddie, Timothy Williams, and Will Cordner. "Interview with Lincoln Davis, Tam Armstrong, and Shauna Sperry." In Once Upon a Pixel. CRC Press, 2019. http://dx.doi.org/10.1201/9781351014274-10.

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Conference papers on the topic "Tan, Shaun"

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Kyaw, Nang Aeindray, Ye Kyaw Thu, Hlaing Myat Nwe, Phyu Phyu Tar, Nandar Win Min, and Thepchai Supnithi. "A Study of Three Statistical Machine Translation Methods for Myanmar (Burmese) and Shan (Tai Long) Language Pair." In 2020 15th International Joint Symposium on Artificial Intelligence and Natural Language Processing (iSAI-NLP). IEEE, 2020. http://dx.doi.org/10.1109/isai-nlp51646.2020.9376832.

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Gu Fan and Su Yong. "Notice of Retraction: A demonstration research on job satisfaction of the employee from the private enterprise — Based on LH Group Co., LTD. Tang Shan." In Business Management and Electronic Information. 2011 International Conference on Business Management and Electronic Information (BMEI 2011). IEEE, 2011. http://dx.doi.org/10.1109/icbmei.2011.5920410.

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