Academic literature on the topic 'Tonich, Marko'

Berlin. Das Corona-Virus hat Thomas Henry vorerst ausgebremst. Nach Jahren des steten Wachstums leidet die Filler-Marke unter dem Lockdown der Gastronomie. Eine zweite Tonic-Variante soll Zusatzumsatz im Handel bringen.

1. The depth distributions of neurons with changes in activity during a visual reaction time task were investigated in the dorsolateral prefrontal cortex of the macaque monkey, using glass micropipettes. The task was initiated by the monkey pressing a lever and consisted of an initial waiting phase (3.0-s period); a warning phase (green lamp, a variable period of 1.5-3.5 s); a lever-release GO phase (red lamp); and a final reward phase. The locations of neurons, in terms of the cortical layer, whose activities were recorded during performance of the task, were estimated histologically by marks made during the recording session. Marks were made by passing a DC current (anodal, 10-20 microA, 10-20 s) through the tip of an electrode which contained carbon fibers. Manipulator readings during the experiments and measurements of the distance of the marks from the cortical surface for 28 electrode penetrations showed a discrepancy of 2.0 +/- 5.0%, indicating that the depths at which task-related neurons were located could be estimated with errors of less than 10%. 2. Out of 162 task-related neurons recorded during 31 electrode penetrations, 53 showed changes in activity only during the warning phase (W-type; 19 phasic, 10 phasic-tonic, and 24 tonic), 37 showed changes only during the GO phase (GO-type; 4 Cue-coupled, 27 Intermediate, and 6 Movement-coupled), 34 showed changes during both the warning and GO phases (WG-type; 9 phasic, 10 phasic-tonic, and 15 tonic), and 38 showed changes during the reward phase (RE-type; 22 phasic and 16 tonic). 3. The various task-related neurons were distributed differently in different layers. Most neurons were recorded from layers III through V. In layer I, no neurons were recorded. In layer II, only a small number of neurons, with changes during the warning phase, were recorded (n = 7, 4%). One-third of the neurons were recorded in layer III (n = 51, 32%); neurons with changes during the warning phase were the most numerous (n = 24) and were significantly more numerous than neurons with changes associated with other phases of the task. One-fourth of the neurons were recorded in layer IV (n = 43, 27%); neurons with changes during the reward phase were the most numerous (n = 19), and were significantly more numerous than neurons with changes during both the warning and GO phases and also more numerous than neurons with changes during the GO phase.(ABSTRACT TRUNCATED AT 400 WORDS)

In Dictee Theresa Cha, a Korean American Writer Who Died Tragically at the Age of Thirty-One, Shows Us How Dwelling in language can lead us to the truth of a radical instability. On the first page, she sets blocks of text in French and English one above the other, spelling out the terms for spacing and punctuation that a child might not understand. The English paragraph reads:Open paragraph It was the first day period She had come from a far period tonight at dinner comma the families would ask comma open quotation marks How was the first day interrogation mark close quotation marks… . (1)

A study was conducted to examine in vitro ruminal fermentation profiles and methane production of some alternative forage species (n = 10) in Australia. Extent of fermentation was assessed using an in vitro batch fermentation system, where total gas production, methane production, and concentrations in ruminal fluid of volatile fatty acids (VFA) and ammonia were measured. Forages varied in their fermentability, with highest total gas, methane, VFA and ammonia production recorded from selected samples of Brassica napus L. cv. Winfred. Lowest methane production (i.e. 30% less than that formed by the highest-producing one) was observed in Plantago lanceolata L. cv. Tonic and Cichorium intybus L. cv. Choice. Selected plants, including P. lanceolata L. cv. Tonic, Brassica rapa L. cv. Marco, Brassica napus L. cv. Hunter had reduced acetate : propionate ratio and/or ammonia concentration, along with relatively low methane production compared with other species tested, while overall fermentation was not affected. It was concluded that selected novel forages have some advantageous fermentability profiles in the rumen and, in particular, inhibit methane production. However, before these can be recommended as valuable supplementary feedstuffs for ruminants in Australia, further studies are needed to confirm these effects over a range of samples, conditions and in vivo.

Smooth muscle is generally grouped into two classes of differing contractile properties. Tonic smooth muscles show slow rates of force activation and relaxation and slow speeds of shortening ( V max) but force maintenance, whereas phasic smooth muscles show poor force maintenance but have fast V max and rapid rates of force activation and relaxation. We characterized the development of gizzard and aortic smooth muscle in embryonic chicks to identify the cellular determinants that define phasic (gizzard) and tonic (aortic) contractile properties. Early during development, tonic contractile properties are the default for both tissues. The gizzard develops phasic contractile properties between embryonic days ( ED) 12 and 20, characterized primarily by rapid rates of force activation and relaxation compared with the aorta. The rapid rate of force activation correlates with expression of the acidic isoform of the 17-kDa essential myosin light chain (MLC17a). Previous data from in vitro motility assays (Rover AS, Frezon Y, and Trybus KM. J Muscle Res Cell Motil 18: 103–110, 1997) have postulated that myosin heavy chain (MHC) isoform expression is a determinant for V max in intact tissues. In the current study, differences in V max did not correlate with previously published differences in MHC or MLC17a isoforms. Rather, V max was increased with thiophosphorylation of the 20-kDa regulatory myosin light chain (MLC20) in the gizzard, suggesting that a significant internal load exists. Furthermore, V max in the gizzard increased during postnatal development without changes in MHC or MLC17 isoforms. Although the rate of MLC20 phosphorylation was similar at ED 20, the rate of MLC20 dephosphorylation was significantly higher in the gizzard versus the aorta, correlating with expression of the M130 isoform of the myosin binding subunit in the myosin light chain phosphatase (MLCP) holoenzyme. These results indicate that unique MLCP and MLC17 isoform expression marks the phasic contractile phenotype.

Although a half cadence marks the end of the transition section in most sonata-form expositions and recapitulations, in many of Haydn’s sonata-form movements — especially those from around the 1760s — the end of the transition is instead articulated by a firm perfect authentic cadence. This establishes a point of harmonic resolution, rather than momentum, at this crucial formal juncture. As such, it yields an overall formal shape that departs from “textbook” sonata-form descriptions, which are based largely on later stylistic norms. The practice of having a strong tonic arrive in the middle of the exposition or recapitulation is a strategy that Haydn shared with other composers who flourished in the mid-eighteenth century, and it well accords with the descriptions of formal procedures found in Heinrich Christoph Koch’s Versuch einer Anleitung zur Composition .

Cell proliferation within the optic lobe anlagen is dependent on ecdysteroids during metamorphosis of the moth Manduca sexta. We use cultured tissues to show that ecdysteroids must be maintained above a sharp threshold concentration to sustain proliferation. Proliferation can be turned on and off repeatedly simply by shifting the ecdysteroid concentration to above or below this threshold. In subthreshold hormone, cells arrest in the G2 phase of the cell cycle. Ecdysteroid control of proliferation is distinguished from differentiative and maturational responses to ecdysteroids by requiring tonic exposure to the hormone and lower levels of 20-hydroxyecdysone, and by being sensitive to either 20-hydroxyecdysone or its precursor, ecdysone. These characteristics allow optic lobe development to be divided into two ecdysteroid-dependent phases. Initially, moderate levels of ecdysteroid stimulate proliferation. Later, high levels of 20-hydroxyecdysone trigger a wave of apoptosis within the anlage that marks completion of its proliferative phase.

Stretch-sensitive afferents comprise ∼33% of the pelvic nerve innervation of mouse colorectum, which are activated by colorectal distension and encode visceral nociception. Stretch-sensitive colorectal afferent endings respond tonically to stepped or ramped colorectal stretch, whereas dissociated colorectal dorsal root ganglion neurons generally fail to spike repetitively upon stepped current stimulation. The present study investigated this difference in the neural encoding characteristics between the soma and afferent ending using pharmacological approaches in an in vitro mouse colon-nerve preparation and complementary computational simulations. Immunohistological staining and Western blots revealed the presence of voltage-gated sodium channel (NaV) 1.6 and NaV1.7 at sensory neuronal endings in mouse colorectal tissue. Responses of stretch-sensitive colorectal afferent endings were significantly reduced by targeting NaV1.6 using selective antagonists (μ-conotoxin GIIIa and μ-conotoxin PIIIa) or tetrodotoxin. In contrast, neither selective NaV1.8 (A803467) nor NaV1.7 (ProTX-II) antagonists attenuated afferent responses to stretch. Computational simulation of a colorectal afferent ending that incorporated independent Markov models for NaV1.6 and NaV1.7, respectively, recapitulated the experimental findings, suggesting a necessary role for NaV1.6 in encoding tonic spiking by stretch-sensitive afferents. In addition, computational simulation of a dorsal root ganglion soma showed that, by adding a NaV1.6 conductance, a single-spiking neuron was converted into a tonic spiking one. These results suggest a mechanism/channel to explain the difference in neural encoding characteristics between afferent somata and sensory endings, likely caused by differential expression of ion channels (e.g., NaV1.6) at different parts of the neuron.

Ce texte accompagne mon exposition finale, ma pratique, mon projet. Je l’ai conçu ainsi comme partie intégrante du tout, mais sa lecture seule sans accès au reste pourrait aussi être considérée dans le cas où l’un ou plusieurs des aspects particuliers de celui-ci intéressentle lecteur. Notons aussi l’importance des figures qui témoignent justement de ce qui ne sera pas décrit, mais qui vont naturellement dans le même sens que ce qui l’est. La méthodologie générale est de présenter l’universel duquel le mécanisme et l’existence du particulier peuvent être compris et interprétés.Il sera question ici de définir le champ et mode d’action de l’art et de la philosophiede ma pratique, depréciser la vie de l’artiste en tant que projet ainsi quede proposer l’art en tant que décor. L’ensemble vise à être reçucomme un questionnement, une recherche, une tentative de compréhension et d’expression de notre nature humaine.Celle-ciest interprétéede deux façons; premièrement comme ce qui fait la spécificité de l’humain et deuxièmement par le paradoxe de la création d’une nature qui serait proprement humaine.

Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.

Las colecciones de música son cada vez mayores y más variadas, haciendo necesarias nuevas fórmulas para su organización automática. El análisis automático del ritmo tiene como fin la extracción de información rítmica de grabaciones musicales y es una de las principales áreas de investigación en la disciplina de recuperación de la información musical (MIR por sus siglas en inglés). La dimensión rítmica de la música es específica a una cultura y por tanto su análisis requiere métodos que incluyan el contexto cultural. Las complejidades rítmicas de la música clásica de la India, una de las mayores tradiciones musicales del mundo, no han sido tratadas hasta la fecha en MIR, motivo por el cual la elegimos como nuestro principal objeto de estudio. Nuestra intención es abordar cuestiones de análisis rítmico aún no tratadas en MIR con el fin de contribuir a la disciplina con nuevos métodos sensibles al contexto cultural y generalizables a otras tradiciones musicales. El objetivo de la tesis es el desarrollo de técnicas de procesamiento de señales y aprendizaje automático dirigidas por datos para el análisis, descripción y descubrimiento automáticos de estructuras y patrones rítmicos en colecciones de audio de música clásica de la India. Tras identificar retos y posibilidades, así como varias tareas de investigación relevantes para este objetivo, detallamos la elaboración del corpus de estudio y conjuntos de datos, fundamentales para métodos dirigidos por datos. A continuación, nos centramos en las tareas de análisis métrico y descubrimiento de patrones de percusión. El análisis métrico consiste en la alineación de eventos métricos a diferentes niveles con una grabación de audio. En la tesis formulamos las tareas de deducción de metro, seguimiento de metro y seguimiento informado de metro de acuerdo a la tradición estudiada, se evalúan diferentes modelos bayesianos capaces de incorporar explícitamente información de estructuras métricas de niveles superiores y se proponen nuevas extensiones. Los métodos propuestos superan las limitaciones de las propuestas existentes y los resultados indican la efectividad del análisis informado de metro. La percusión en la música clásica de la India utiliza onomatopeyas para la transmisión del repertorio y la técnica. Utilizamos estas sílabas para definir, representar y descubrir patrones en grabaciones de solos de percusión. A tal fin generamos una transcripción automática basada en un modelo oculto de Márkov, seguida de una búsqueda aproximada de subcadenas usando una biblioteca de patrones de percusión derivada de datos. Experimentos preliminares en patrones de percusión de ópera de Pekín, y en grabaciones de solos de tabla y mridangam, demuestran la utilidad de estas sílabas, identificando nuevos retos para el desarrollo de sistemas prácticos de descubrimiento. Las tecnologías resultantes de esta investigación son parte de un conjunto de herramientas desarrollado en el proyecto CompMusic para el mejor entendimiento y organización de la música clásica de la India, con el objetivo de proveer una experiencia mejorada de escucha y descubrimiento de música. Estos datos y herramientas pueden ser también relevantes para estudios musicológicos dirigidos por datos y otras tareas de MIR que puedan beneficiarse de análisis automáticos de ritmo.
Large and growing collections of a wide variety of music are now available on demand to music listeners, necessitating novel ways of automatically structuring these collections using different dimensions of music. Rhythm is one of the basic music dimensions and its automatic analysis, which aims to extract musically meaningful rhythm related information from music, is a core task in Music Information Research (MIR). Musical rhythm, similar to most musical dimensions, is culture-specific and hence its analysis requires culture-aware approaches. Indian art music is one of the major music traditions of the world and has complexities in rhythm that have not been addressed by the current state of the art in MIR, motivating us to choose it as the primary music tradition for study. Our intent is to address unexplored rhythm analysis problems in Indian art music to push the boundaries of the current MIR approaches by making them culture-aware and generalizable to other music traditions. The thesis aims to build data-driven signal processing and machine learning approaches for automatic analysis, description and discovery of rhythmic structures and patterns in audio music collections of Indian art music. After identifying challenges and opportunities, we present several relevant research tasks that open up the field of automatic rhythm analysis of Indian art music. Data-driven approaches require well curated data corpora for research and efforts towards creating such corpora and datasets are documented in detail. We then focus on the topics of meter analysis and percussion pattern discovery in Indian art music. Meter analysis aims to align several hierarchical metrical events with an audio recording. Meter analysis tasks such as meter inference, meter tracking and informed meter tracking are formulated for Indian art music. Different Bayesian models that can explicitly incorporate higher level metrical structure information are evaluated for the tasks and novel extensions are proposed. The proposed methods overcome the limitations of existing approaches and their performance indicate the effectiveness of informed meter analysis. Percussion in Indian art music uses onomatopoeic oral mnemonic syllables for the transmission of repertoire and technique, providing a language for percussion. We use these percussion syllables to define, represent and discover percussion patterns in audio recordings of percussion solos. We approach the problem of percussion pattern discovery using hidden Markov model based automatic transcription followed by an approximate string search using a data derived percussion pattern library. Preliminary experiments on Beijing opera percussion patterns, and on both tabla and mridangam solo recordings in Indian art music demonstrate the utility of percussion syllables, identifying further challenges to building practical discovery systems. The technologies resulting from the research in the thesis are a part of the complete set of tools being developed within the CompMusic project for a better understanding and organization of Indian art music, aimed at providing an enriched experience with listening and discovery of music. The data and tools should also be relevant for data-driven musicological studies and other MIR tasks that can benefit from automatic rhythm analysis.
Les col·leccions de música són cada vegada més grans i variades, fet que fa necessari buscar noves fórmules per a organitzar automàticament aquestes col·leccions. El ritme és una de les dimensions bàsiques de la música, i el seu anàlisi automàtic és una de les principals àrees d'investigació en la disciplina de l'recuperació de la informació musical (MIR, acrònim de la traducció a l'anglès). El ritme, com la majoria de les dimensions musicals, és específic per a cada cultura i per tant, el seu anàlisi requereix de mètodes que incloguin el context cultural. La complexitat rítmica de la música clàssica de l'Índia, una de les tradicions musicals més grans al món, no ha estat encara treballada en el camp d'investigació de MIR - motiu pel qual l'escollim com a principal material d'estudi. La nostra intenció és abordar les problemàtiques que presenta l'anàlisi rítmic de la música clàssica de l'Índia, encara no tractades en MIR, amb la finalitat de contribuir en la disciplina amb nous models sensibles al context cultural i generalitzables a altres tradicions musicals. L'objectiu de la tesi consisteix en desenvolupar tècniques de processament de senyal i d'aprenentatge automàtic per a l'anàlisi, descripció i descobriment automàtic d'estructures i patrons rítmics en col·leccions de música clàssica de l'Índia. Després d'identificar els reptes i les oportunitats, així com les diverses tasques d'investigació rellevants per a aquest objectiu, detallem el procés d'elaboració del corpus de dades, fonamentals per als mètodes basats en dades. A continuació, ens centrem en les tasques d'anàlisis mètric i descobriment de patrons de percussió. L'anàlisi mètric consisteix en alinear els diversos esdeveniments mètrics -a diferents nivells- que es produeixen en una gravació d'àudio. En aquesta tesi formulem les tasques de deducció, seguiment i seguiment informat de la mètrica. D'acord amb la tradició musical estudiada, s'avaluen diferents models bayesians que poden incorporar explícitament estructures mètriques d'alt nivell i es proposen noves extensions per al mètode. Els mètodes proposats superen les limitacions dels mètodes ja existents i el seu rendiment indica l'efectivitat dels mètodes informats d'anàlisis mètric. La percussió en la música clàssica de l'Índia utilitza onomatopeies per a la transmissió del repertori i de la tècnica, fet que construeix un llenguatge per a la percussió. Utilitzem aquestes síl·labes percussives per a definir, representar i descobrir patrons en enregistraments de solos de percussió. Enfoquem el problema del descobriment de patrons percussius amb un model de transcripció automàtica basat en models ocults de Markov, seguida d'una recerca aproximada de strings utilitzant una llibreria de patrons de percussions derivada de dades. Experiments preliminars amb patrons de percussió d'òpera de Pequín, i amb gravacions de solos de tabla i mridangam, demostren la utilitat de les síl·labes percussives. Identificant, així, nous horitzons per al desenvolupament de sistemes pràctics de descobriment. Les tecnologies resultants d'aquesta recerca són part de les eines desenvolupades dins el projecte de CompMusic, que té com a objectiu millorar l'experiència d'escoltar i descobrir música per a la millor comprensió i organització de la música clàssica de l'Índia, entre d'altres. Aquestes dades i eines poden ser rellevants per a estudis musicològics basats en dades i, també, altres tasques MIR poden beneficiar-se de l'anàlisi automàtic del ritme.

The growing field of social economics explores how individual behavior is affected by group-level influences, extending the approach of mainstream economics to include broader social motivations and incentives. This book offers a rich and rigorous selection of current work in the field, focusing on some of the most active research areas. Topics covered include culture, gender, ethics, and philanthropic behavior. Social economics grows out of dissatisfaction with a purely individualistic model of human behavior. This book shows how mainstream economics is expanding its domain beyond market and price mechanisms to recognize a role for cultural and social factors. Some chapters, in the tradition of Gary Becker, attempt to extend the economics paradigm to explain other social phenomena; others, following George Akerlof’s approach, incorporate sociological and psychological assumptions to explain economic behavior. Loosely organized by theme—Social Preferences; Culture, Values, and Norms; and Networks and Social Interactions”—the chapters address a range of subjects, including gender differences in political decisions, “moral repugnance” as a constraint on markets, charitable giving by the super-rich, value diversity within a country, and the influence of children on their parents’ social networks. Contributors Mireia Borrell-Porta, Sjoerd Beugelsdijk, Joan Costa-Font, Elwyn Davies, Julio Jorge Elias, Marcel Fafchamps, Luigi Guiso, Odelia Heizler, Ayal Kimhi, Mariko J. Klasing, Martin Ljunge, Mario Macis, Mark Ottoni-Wilhelm, Abigail Payne, Kelly Ragan, Jana Sadeh, Azusa Sato, Kimberley Scharf, Sarah Smith, Mirco Tonin, Michael Vlassopoulos, Evguenia Winschel, Philipp Zahn

At the heart of America’s slave system was the legal definition of people as property. While property ownership is a cornerstone of the American dream, the status of enslaved people supplies a contrasting American nightmare. This book considers how writers in works from 19th slave narratives to 21st century poetry employ gothic tools, such as ghosts and haunted houses, to portray the horrors of this nightmare. Out of all of slavery’s perils, the definition of people as property is the central impetus for haunting because it allows the perpetration of all of the other terrors. Property becomes the engine for the white accumulation of wealth and power fueled by the destruction of black personhood. Specters often linger, however, to claim title, and haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, this study reveals how writers can use the gothic to combat legal possession with spectral possession. The book thus reimagines the southern gothic, which has too often been simply equated with the macabre or grotesque and then dismissed as regional. Instead, gothic tales of slavery are the very distillation of the anxieties about race and property located in the larger American literary tradition.

Sometimes a perfect authentic cadence can delineate a resting point that appears in mid-Periode. This can occur, for instance, if a perfect authentic cadence in the secondary key forms a new-key Grundabsatz that (1) marks the end of a Passo di mezzo that appears in the middle of the second theme; (2) appears in the middle or prior to a transition; or (3) marks the end of a transition, thereby forming a “third-level default medial caesura.” A third-level default medial caesura may also be established by a formal cadence, so that what in modern terminology might be understood as a secondary theme corresponds to a Nebenperiode. Finally, it is also possible in rare cases for a perfect authentic cadence in the home key to articulate the end of a transition section, thereby forming a “fourth-level default medial caesura.”

This concluding chapter tracks the developments in Arabo-Islamic print culture beginning in the mid-twentieth century. It remarks on some features of postclassical thought which were common enough to mark the era's scholarship in distinct and recognizable ways. It is likely that they contributed, together with the decline of educational institutions and libraries, to the decreasing availability of classical works in the Arabic-speaking world, which further constrained intellectual production by reducing the resources at scholars' disposal. In their righteous zeal, the reformists may well have exaggerated the intellectual weaknesses of their age, but the sincerity of the feeling of liberation and optimism with which they reached into the classical tradition for tonics for present maladies should not be doubted. From there, the chapter turns to more contemporary times and the major technological strides which herald a new renaissance for classical literature.

This chapter chronicles the history of official US cultural diplomacy, starting in the 1930s up until the birth of hip hop diplomacy in 2001 and the establishment of Next Level, the first State Department–funded hip hop diplomacy program, in 2013. National security threats have long been the animating force behind US cultural diplomacy. First, the threat was fascism. Later, it was communism, and then terrorism. The first hip hop “diplomat” was rapper Toni Blackman. Next Level originated in the State Department’s Bureau of Educational and Cultural Affairs (ECA). Mark Katz was the founding director of Next Level.

This chapter explores the persistence of community action as an ideal in post-1960s black feminist fiction, focusing on Alice Walker’s Meridian and Toni Cade Bambara’s The Salt Eaters. Both writers began their careers as social workers associated with War on Poverty programs; both were also influenced by the Student Nonviolent Coordinating Committee’s version of community action, implemented during the 1964 Freedom Summer. In their novels, Walker and Bambara explore the legacy of the civil rights movement, focusing on intraracial class divisions that community action was supposed to suture. In both novels, these divisions turn out to be ineradicable, and their persistence marks the Southern folk aesthetic—the influential version of process art that Walker, Bambara, and other black feminist writers created in the 1970s.