Academic literature on the topic 'Yoko (1960-....)'
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Journal articles on the topic "Yoko (1960-....)"
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Milani, Vanessa Pironato. "‘We all want to change the world’." Idéias 9, no. 2 (December 14, 2018): 189–208. http://dx.doi.org/10.20396/ideias.v9i2.8655182.
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Este artigo tem por finalidade analisar, à luz do efervescente cenário dos anos 1960, o engajamento político de John Lennon e Yoko Ono, perceptível desde suas produções solo, e consolidado com o início de seu relacionamento, momento a partir do qual acabaram fortalecendo e ampliando seus atos artístico-políticos. Sendo assim, busca-se refletir sobre as produções musicais de tais artistas a partir da segunda metade da década 1960, demonstrando como também a música pode ser um ato revolucionário, para além dos protestos nas ruas, nos campi universitários e dos jornais e revistas undergrounds.
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Hübner, Klaus. "Linguistic spaces of the world between. On the „Chamissa” literature." Tekstualia 3, no. 46 (July 4, 2016): 121–28. http://dx.doi.org/10.5604/01.3001.0013.4209.
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German Literature, written by Authors whose First Language is different to German, has a long tradition (18th and 19th Century). In the 1960s und 1970s a new Generation of Authors entered the Stage of Literature. This Essay deals with History and Development of their kind of German Literature from its beginnings as „Gastarbeiterliteratur“ until today, outlinig several of its phases: Immigration from Turkey, Italy, Yugoslavia and other Countries into Germany 1960–1985, Literature and Changes in Europe’s Political Map 1989/90, Growing Variety of Literary Styles 1990–2005, Success and Recognition of „Chamisso-Literature“ in the last ten years (Feridun Zaimoglu, Yoko Tawada, Ilija Trojanow, Artur Becker, Ilma Rakusa, Terézia Mora, and Others), Present Situation.
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Pajević, Marko. "Sprachabenteuer: Yoko Tawadas exophone Erkundungen des Deutschen." Interlitteraria 26, no. 1 (August 31, 2021): 173–88. http://dx.doi.org/10.12697/il.2021.26.1.12.
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Adventures in Language: Yoko Tawada’s Exophonic Explorations of German. Yoko Tawada (1960) is for good reason one of the prime examples for contemporary German exophonic literature. She is a very successful writer in Japanese and in German and provides in her Germanophone writings an ethnography of the German worldview, as Wilhelm von Humboldt famously called languages, or of the German language-mindset. This article focuses on her 2010 poetry volume Abenteuer der deutschen Grammatik (‘Adventures of German Grammar’) to demonstrate how exophonia can allow us to develop an acute awareness of the ways in which language structures shape our patterns of thinking. Coming from a very differently organised language, Japanese, Tawada comments in playful ways on the implications of German, and compares it translinguistically with Japanese. Looking at German from an outside position enables her to be very creative and to make Germans discover their language with new eyes. Translingual writing, even though also present in a real mixing of languages in Tawada, appears here as a way to understand how much our ideas are shaped by our linguistic structures, and that there are alternative worldviews. It thus contributes greatly to a relativisation of one’s own perspective and helps to open up to difference and creativity.
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Simyan, T. S. "“Russian” and “Soviet” Plot in the Literary Works of Yoko Tavada." Critique and Semiotics 39, no. 1 (2021): 364–82. http://dx.doi.org/10.25205/2307-1737-2021-1-364-382.
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In the article the concepts-signified as “Russian” and “Soviet” expressed in the works of the German-Japanese writer Yoko Tavada (born 1960) are touched upon. The concepts signified as “Soviet” and “Russian” do encompass everything that is connected with Russian culture, literature and the Soviet Union. The empirical material for the given depiction were the essay and novel by Tavada “Suspicious passengers of your night trains” (2002, 2009). Based on the example of this novel the attitude of the younger generation of the socialist countries of late 1980s to the Russian language is revealed. The transition of the socialist bloc (Yugoslavia) is described on the example of clothes (jeans, aluminum fork, and pizza), the younger generation (good manners vs. bad manners), and language skills (English vs. Russian). The heroine’s journey along the Trans-Siberian Railway (Moscow – Irkutsk – Khabarovsk) enabled the author to reveal the micro-historical realities of the last decade of the Soviet era. The plot of the novel showed that in the last decades of the Soviet era there was already a “nostalgia” for household goods, the style of clothing and music, and Western pop culture (Jimi Hendrix, Elvis Presley). During the contact with the main character, the Russian soul (benevolence, openness, hospitality) and low standards of eco-awareness and disrespect for non-smokers in public transport (train) are revealed. The Soviet era is also confessed at the level of smell and food (garlic, cheap cigarettes, onions, black bread, porridge, soup butter drips, vodka, etc.). In the course of the narrative and communication with the surrounding people the Siberian “real” world is indicated, i.e. the poverty of the interior of the Siberian villages of the Soviet era. In the course of describing the Siberian expanse its natural and climatic constants such as cold, snow, bathhouse and birch, the latter as a symbol of all of Russia with its mythological stratum, were presented. The attributive cycle of the Siberian natural-climatic and “material” world is completed by the theme of androgyny opened up in the Siberian bathhouse, which is a space for identifying all types of physical things, that is, of female and male in woman and man.
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Daris, Gabriella. "The veil of ignorance or unveiling Yoko Ono’s Cut Piece." Scene 2, no. 1 (October 1, 2014): 133–45. http://dx.doi.org/10.1386/scene.2.1-2.133_1.
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Yoko Ono’s performance Cut Piece (1964) is anchored by the instructions Cut Piece that the artist had produced in 1962 and in 1966, where the concept of the work lies. The clothing the performer wears is equally an important component of the work, and its cutting is what activates it. These aspects will be examined under the theoretical framework built on Kant’s and Derrida’s concept of the parergon, Heidegger’s ‘Gelassenheit’ (releasement), destruction and retrieval, Agamben’s clothing/nudity apparatus and Mauss’ notion of the gift-giving exchange. Cut Piece’s concern with the power relation between author and reader will also be examined throughout the article, with recurrent reference to Yoko Ono’s earlier work, Audience Piece (1962), and through Sartre’s and Levinas’ theories on Being for the Other and the limits of freedom. In search of the fons et origo of Cut Piece, the investigation will use Derrida’s method of deconstruction and further on discuss its displacement and recontextualization. Seamlessly, it will decipher the many layers of meanings it conceals and unveils, and will bring forth a number of viewpoints, reminding us that since the artist’s attempt is to realize her ideas in the actions of Others, it inevitably means that the work projects a range of ongoing interpretations.
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Jeong, Sang Hun, and Young Sil Sohn. ""A Study on the Korean Image Photography - focusing on Yook Myong-Shim`s photography 1960-1980 -"." Journal of Basic Design & Art 21, no. 4 (August 31, 2020): 389–400. http://dx.doi.org/10.47294/ksbda.21.4.28.
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Danchenko, Svetlana. ""Liberators" and "victors". Excerpts on the history of Russian /Soviet Bulgarian studies." Slavs and Russia, no. 2019 (2019): 359–85. http://dx.doi.org/10.31168/2618-8570.2019.16.
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The article is devoted to the fundamental academic work «Liberation of Bulgaria from the Turkish yoke» (Vol. I-III. Moscow, 1961-1967) consisting of three volumes of documents and other materials. The work was arranged by members of the Institute of Slavic studies and USSR archive workers in collaboration with Bulgarian historians and archivists within the framework of international scientifi c cooperation. The author considers the contents of this three volume work and pays special attention to the contribution made by historians specialising in the history of the Russo-Turkish war of 1877-1878 and «Liberation of Bulgaria» working on the edition.
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Takezawa, Yasuko. "Major and Minor Transnationalism in Yoko Inoue’s Art." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 27–47. http://dx.doi.org/10.1163/23523085-00601003.
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This article elucidates major transnationalism and minor transnationalism through an analysis of works by New York-based Japanese artist Yoko Inoue (b. 1964). Inoue engages in social criticism through varied media such as ceramics, installations, and performance art. Her works demonstrate minor transnationalism observed in the relationships she has built with other transmigrants and minoritized individuals over such issues as xenophobia and racism after 9/11, as well as Hiroshima/Nagasaki and related contemporary nuclear issues. Inoue also addresses the disparities in collective memory and narratives between Japan and the US plus socio-economic inequalities between nation-states and the movement of people/goods/money within Trans-Pacific power dynamics, all of which illustrate major transnationalism in the Trans-Pacific.
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Gao, Hui, Wenhao Wang, Chengjin Yang, Weile Jiao, Ziwei Chen, and Tong Zhang. "Traffic signal image detection technology based on YOLO." Journal of Physics: Conference Series 1961, no. 1 (July 1, 2021): 012012. http://dx.doi.org/10.1088/1742-6596/1961/1/012012.
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Klyukhin, V. I., N. Amapane, A. Ball, B. Curé, A. Gaddi, H. Gerwig, M. Mulders, A. Hervé, and R. Loveless. "Measuring the Magnetic Flux Density in the CMS Steel Yoke." Journal of Superconductivity and Novel Magnetism 26, no. 4 (December 20, 2012): 1307–11. http://dx.doi.org/10.1007/s10948-012-1967-5.
Full textDissertations / Theses on the topic "Yoko (1960-....)"
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Rigault, Tom. "Yoko Tawada, ou le Comparatisme : l’œuvre et la critique en dialogue." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL175.
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Yoko Tawada, écrivaine contemporaine d’expression japonaise et allemande, mène depuis trente ans une carrière qui connaît un succès critique considérable dans ses deux langues et pays d’écriture. Œuvre hybride à la croisée des genres, des langues, des cultures et des littératures, définie par une démarche autoréflexive et métalinguistique, c’est un sujet de choix pour la littérature comparée, avec laquelle elle partage des affinités fondamentales. Pourtant, elle n’est encore que peu étudiée par les comparatistes ; cette thèse se donne donc pour objet de combler en partie cette lacune. Au long d’un parcours à travers les champs de recherche et plusieurs problématiques de la littérature comparée, nous éclairons réciproquement le fonctionnement de l’écriture tawadienne et les enjeux comparatistes contemporains dans le but de démontrer l’intérêt d’un véritable dialogue entre la démarche critique et son objet. La première étape consiste à établir la pertinence et la nécessité d’une approche comparatiste. Ensuite, mimant le geste autoréflexif de l’écrivaine, nous analysons les rapports de la critique à l’œuvre littéraire afin de déterminer leurs apports mutuels. Puis nous étudions le traitement littéraire et épistémologique de la notion d’espace, et plus précisément celle de passage, centrales dans la poétique tawadienne comme dans la pratique comparatiste, avant de nous pencher sur l’Europe, espace géographique et culturel au cœur de la création chez Tawada et de la définition de la littérature comparée. Enfin, nous achevons ce parcours sur une réflexion dans les termes de Tawada sur la traduction littéraire et la littérature en traduction, nœud gordien du comparatismeContemporary bilingual writer Yoko Tawada has received much critical acclaim for both her German and her Japanese literary work since 30 years now. Her hybrid writing between genres, languages, cultures and literatures, defined by a characteristic self reflexive and metalinguistic stance, is an ideal research topic for Comparative Literature. However, it has yet to be thoroughly studied by comparatists. In our thesis, we endeavour to fill part of this gap by connecting Tawada’s writing to comparative research fields and issues, in order for them to shed light on each other. Thus we aim to demonstrate what we can gain from a real dialogue between the researcher and its object of study. The first step will be to assess the meaningfulness and use of a comparative approach in the case of Tawada’s literature. Then, we will mimic the writer’s own self reflexive gesture in order to analyse the relationship between literary work and criticism and determine how they might benefit each other. Afterwards, we will study closely the epistemological and literary uses of space and passage, two crucial notions both for Comparatism and Tawada’s writing, before focusing on a more specific geographical and cultural space: that of Europe, which is also central to the writer’s literary journey as well as the very definition of Comparative Literature. Lastly, we will close with a study of Tawada’s thought-provoking take on the Gordian knot of Comparative Literature: literary translation and literature in translation
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Richter, Cintea. "Pontes geoliterárias em Onde a Europa começa e em Às margens do Spree de Yoko Tawada." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/184593.
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O espaço em toda a sua complexidade de relações é o objeto central de estudo da Geografia. É também um aspecto de relevância nos estudos de textos literários, uma vez que praticamente todas as narrativas se passam em algum lugar, seja ele real ou fictício. Esta dissertação busca o diálogo entre a Literatura e a Geografia, por meio do estudo de dois textos literários da autora Yoko Tawada. Levando em consideração as mudanças no âmbito da mobilidade e da configuração do espaço mundial, analiso como esse processo emerge na Literatura atual, mais especificamente nos textos Onde a Europa começa (1991) e Às margens do Spree (2007), em que a autora Yoko Tawada desloca(liza) suas personagens em viagens entre o Oriente e o Ocidente. Para isso, debruço-me sobre cada narrativa individualmente, mas também as comparando, levando em consideração a passagem do tempo entre uma publicação e outra. Busco tecer uma análise interdisciplinar e intertextual. Dentre os teóricos cujo aporte se torna o fio condutor do trabalho, Ottmar Ette (2001) é responsável por ajudar na leitura da transarealidade do espaço, na interpretação das coreografias realizadas pelas personagens e na investigação de rotas e fluxos cristalizados na Geografia e na Literatura. Franco Moretti (2008) traz seu olhar “de longe” e sua coragem de aproximar comparatistas literários da cartografia e de evidenciá-la como uma ferramenta importante. O geógrafo Eric Dardel (1990), relacionando o Homem com o espaço ao seu redor. O geógrafo Edward Soja (1993), questionando de forma crítica o espaço atual. Todas essas vozes se complementam, ressaltando a potência dos textos estudados e permitindo novas aproximações.This dissertation seeks the dialogue between Geography and Literature through the study of two literary texts of the author Yoko Tawada. Considering the changes in mobility and the configuration of the world space throughout History to the present day, I analyze how this process emerges in the current Literature, more specifically in the texts Where Europe Begins (1991) and At the Spree (2007), in which the author Yoko Tawada (dis)places her characters on trips between East and West. In order to do so, I focus on each narrative individually, but also comparing them, taking into account the passage of time between one publication and the other. Space, in all its complexity of relationships, is the central object of study of Geography. It is also a relevant aspect in the studies of literary texts, since almost all narratives happen somewhere, real or fictitious. The theoretical support comes from different areas of knowledge, resulting in an interdisciplinary and intertextual analysis. However, it is important to highlight the theorists whose contribution became the guiding thread of this research. Thus, Ottmar Ette (2001) is responsible for helping to read the transareality of space, the interpretation of the choreography performed by the characters, and the investigation of routes and crystallized flows in Geography and Literature. Franco Moretti (2008) brings his "from afar" perspective and his courage to approach literary comparatists of cartography and to evidence it as an important tool. The geographer Eric Dardel (1990), relating Man with the space around him. The geographer Edward Soja (1993), critically questioning the current space. All these voices complement each other, highlighting the power of the texts studied and allowing new approaches.
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Leiduck-Koiran, Linda. "Schreiben in fremder Sprache : erzähltheoretische Studien zu den deutschsprachigen Werken der Autoren asiatischer Herkunft Yoko Tawada et Galsan Tschinag." Paris 7, 2006. http://www.theses.fr/2006PA070050.
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« Ecrire en langue étrangère : l'étude des écrivains asiatiques Yoko Tawada et Galsan Tschinag » est élaborée à partir de la constatation que. Chez les écrivains bilingues le changement de langue est fondamental dans leur écriture. Le choix des auteurs se fonde sur: 1° jusqu'à ce jour les œuvres des auteurs de langue allemande de nationalités asiatiques n'ont donné lieu qu'à peu de travaux de recherche en germanistique; 2°les œuvres de Tawada et Tschinag incarnent les courants prépondérants de la littérature asiatique de langue allemande; 3°leurs œuvres présentent un contraste en matière de thématique et de mode narratif. Tawada explore les instants quotidiens d'une jeune japonaise en Allemagne, confrontée aux particularités de la langue et de la culture, le récit de Tschinag se situe dans la perspective masculine de la vie, l'amour, les peines et la mort d'une tribu de nomades Touva dans la steppe mongole. La tentative de compréhension de la thématique et du mode narratif dans les récits de Tawada et Tschinag comporte une rétrospective biographique, une présentation thématique et leur relation avec les langues d'origine et d'adoption. Il sera démontré, comment les procédés d'écriture de Tawada et Tschinag sont obligatoirement empreints de leur culture d'origine, mais aussi de la pensée occidentale. L'analyse narrative de l'œuvre de Tawada met en lumière les aspects de formes de représentation féminine, de l'identité corporelle et de la traduction en tant que constituants des procédés d'écriture. Celle de l'œuvre de Tschinag relève au contraire de la rencontre d'un mode d'écriture documentaire et de fiction sous-tendant la narration et, une analogie de structure avec le Wilhelm Meister de Goethe dans son œuvre autobiographique. La recherche se termine par la thèse que Tawada met en lumière l'angle mort du champ visuel de la civilisation occidentale ; et que Tschinag, par sa façon de fixer par écrit le patrimoine culturel de sa civilisation touva, il crée un « patrimoine métissé ». Deux entretiens avec les auteurs concluentThe research To write in a foreign language is based on the fact that for bilingual writers the changing of language and culture is fondamental to their texts and creative processes. As the phenomenon of intercultural literature in Germany is very young, and especially authors from Asia who represent an almost unknown research field, I have chosen the works of the Japanese author Yoko Tawada and those of the Tuva-Mongolian author Galsan Tschinag. In order to understand how their original language and culture, and also the german/western culture, Influence their texts, the thèmes of narrative structure and lexical characteristics are analysed. The resuit is : Tawada reveals a blind spot in the field of vision towards the occidental way of perceiving and Tschinag creates for his nomadic tribe a cross-cultural heritage
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Abreu, Lúcia Collischonn de. "Sonatas em neve : traduzindo a escrita exofônica de Yôko Tawada." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170369.
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Yôko Tawada, autora japonesa que escreve em língua alemã, representa novos caminhos da chamada literatura transnacional, e junto com outros autores não nativos, reflete novas tendências na literatura de língua alemã contemporânea. Sua contribuição pode ser melhor entendida considerando-se o conceito de “exofonia”, uma abordagem mais formal que considera o escrever em língua estrangeira como uma estratégia inovadora para a criação literária. O presente trabalho tem como objetivo geral a tradução do romance Etüden im Schnee (TAWADA, 2014), de Yôko Tawada, utilizando o texto para análise e tradução da exofonia a fim de propor, assim, uma nova maneira de abordar o texto exofônico, isto é, a escrita em língua estrangeira. Para isso, apresento elementos biográficos e da obra da autora para criar um panorama de sua obra e de temas e características recorrentes nela, assim como a visão da autora sobre escrita e tradução. Em seguida, apresento e discutido de forma mais pormenorizada o conceito de exofonia, em oposição e consonância com outros termos utilizados para designar essas literaturas sem morada fixa (ETTE, 2005) em que a exofonia se insere. Busco enriquecer o debate ao introduzir a visão de Yôko Tawada sobre a exofonia, encontrada em seu livro Ekusophonii assim como, de forma geral, sua visão sobre a língua materna, língua estrangeira, e o pertencimento ou dominação de uma língua. Com isso, apresentamos uma visão de tradução exofônica levando em consideração os elementos levantados, e em consonância com a tradução cultural e teorias de tradução que levam em consideração o estilo assim como a voz do tradutor. O objetivo aqui, além de introduzir todas as informações apresentadas, é analisar a obra e sua tradução sob uma perspectiva exofônica, identificando elementos formais e temáticos desse fenômeno de ir para fora da língua materna. O romance Etüden im Schnee, mais recente da autora, apresenta três ursos polares narradores, migrantes, deslocados, que representam uma extrapolação do conceito da exofonia, ao considerar a visão do outro, do estranho, do diferente. No romance, podemos encontrar diversos elementos da exofonia tanto na temática quanto em sua forma, e aqui pretendemos conduzir a análise de tais aspectos considerando-se sua tradução para o português e as implicações que a exofonia tem no processo tradutório.Yôko Tawada, a Japanese author who writes in German, has contributed to a modern phenomenon responsible for resetting the boundaries of the concept of national or international literature in German-speaking countries and literatures. Tawada has paved the way to other exophonic authors to be regarded and studied as such. Exophony, a fairly recent term, refers to the specific case of writers who step outside of their mother tongue, choosing a foreign language to write literature in. The term, however, resonates with wider attempts at defining this literature which, according to Ottmar Ette (2005), has no fixed abode, i.e., does not belong. This work aims at a) translating Yôko Tawada’s novel Etüden im Schnee (2014) into Brazilian Portuguese in order to help bring the author into Brazil’s literary polysystem, b) introducing Tawada’s work and themes present in her books as well as her vision on translation and writing processes, c) introducing exophony as a valid way to read literary texts written in a foreign language and d) analysing Etüden im Schnee and its translation into Portuguese with a basis on the exophonic themes and formal structures that can be observed within the text. Drawing upon Tawada’s critical oeuvre as well as biographical elements and a general take on her works and what constitutes a Tawadian text, alongside with a wider canvas of what exophony is as well as the author’s own view on exophony and the process of writing in a foreign language, we aim at analysing her latest novel Etüden im Schnee and its translation into Portuguese taking into account the process of cultural, stylistic and cognitive translation, as presented by Wright (2010, 2013) in order to propose an exophonic view of translation. In the novel Etüden im Schnee Tawada imagines the inside world of a polar bear’s mind by giving three generations of polar bears, The Grandmother, Toska and Knut, a chance to tell a story, a story about politics, languages, different worlds and species and what makes bears and humans alike. The aim here is to identify elements of exophony as well as themes and strategies present in the novel and its translation.
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Bujor, Flavia. "Une poétique de l’étrangeté : plasticité des corps et matérialité du pouvoir (Suzette Mayr, Marie NDiaye, Yoko Tawada)." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20051.
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La poétique de l’étrangeté est l’une des expressions d’un “retour au corps” du roman contemporain, par lequel celui-ci interroge sa propre capacité à représenter le monde social. Dans l’oeuvre de Suzette Mayr, de Marie NDiaye et de Yoko Tawada, le corps apparaît comme un objet étrange, dont l’évidence naturelle ne va plus de soi. Il est caractérisé par sa malléabilité voire par ses métamorphoses ; en même temps, il porte les marques des catégories de la domination. La poétique de l’étrangeté peut être interprétée comme une traduction littéraire du tournant théorique « matérialiste queer », qui s’efforce de penser à la fois la dynamique du pouvoir à partir de la production des subjectivités et le caractère structurel de la domination à partir de bases économiques. Au sein du corpus, le corps est à la fois « dénaturalisé » et ressaisi comme le signe d’une histoire intersectionnelle, déployée par le processus narratif. Il n’est pas tant l’expression d’une vérité de l’identité que la construction fictionnelle d’un « point de vue situé ». C’est pourquoi son étrangeté est indissociable de sa valeur narrative : c’est à partir d’un corps fictif que s’écrit une certaine perception du monde, que se redéfinissent les formes romanesques, et que se crée un usage « étrange » de la langue. Ces mutations esthétiques rendent compte, dans des termes propres au corpus, d’une possible rupture épistémique, à partir de laquelle la nature même du corps se voit réévaluée. En s’appuyant sur un dialogue entre la théorie et la fiction, qui prend source dans leur étrangeté réciproque, il s’agit d’ouvrir quelques pistes de réflexion sur l’imaginaire contemporain du corps. Par-là, c’est aussi une certaine reconfiguration littéraire du monde social qui est impliquéeThe poetics of strangeness is one of the expressions of a “return to the body” in contemporary fiction, a return through which fiction questions its own ability to depict society accurately. In the works of Suzette Mayr, Marie NDiaye and Yoko Tawada, the body appears as a strange object, the natural evidence of which can no longer be taken for granted. Its main characteristics are its plasticity, or even its tendency towards metamorphosis, and the fact that it bears the signs of domination. The poetics of strangeness can be viewed as the literary translation of the “queer materialist” turn operated in feminist studies to show how the production of subjectivity affects the dynamics of power while at the same time exposing the economically-determined, structural forms of domination. In the texts under study, the body is de-naturalized and simultaneously used as the sign of an intersectional history that shapes the narrative process. It is not so much the expression of a true identity as the fictional construction of a “situated standpoint”. That is why its strangeness cannot be separated from its narrative value : the description of a fictitious body allows to capture a certain perception of the world, to redefine narrative models, to create a “strange” use of language. These aesthetic mutations reflect, in terms proper to our corpus, a possible epistemological rupture, that leads to the reevaluation of the very “nature” of the body. Through a dialogue between theory and fiction based on their reciprocal strangeness, this thesis seeks to offer new perspectives on contemporary representations of the body and shed light on the literary reconfiguration of the social world it entails
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Bari, Martha Ann. "Mass media is the message Yoko Ono and John Lennon's 1969 Year of Peace /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7200.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Uggla, Karolina. "Konst och kartläggning kring 1970 : Modell, diagram och karta i konstens landskap." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-121726.
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The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method. In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping. In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.
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Montandon, Joshua W. "Battle for the Punchbowl: The U. S. 1st Marine Division 1951 Fall Offensive of the Korean War." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3938/.
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This study is an operational and tactical study of a battle fought by the U. S. 1st Marine Division near "the Punchbowl," an extinct volcano of military value in the Taebaek Mountains of Korea, from late August through mid September 1951. That engagement was to be the last 1st Marine Division offensive of the Korean War. This battle, for Yoke and Kanmubong Ridges, has received little coverage from historians. That it is all but forgotten is surprising, since it was one of the hardest fought for United States Marines in the war. The casualties were high, and Americans did not understand why so many had to die for a war that seemed to already be set to conclude by negotiations. This study tells the story of that battle more completely than ever before, and assesses its significance to the course of the Korean War.
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Essono, Ella Victor. "La crise de l’identité à travers l’écriture de Valentin Yves Mudimbe, Eugène Ebodé et Fatou Diome." Rennes 2, 2008. http://www.bu.univ-rennes2.fr/system/files/theses/theseEssono.pdf.
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L’actualité de l’identité reste liée à des domaines disciplinaires comme la sociologie, l’anthropologie, la psychologie sociale, l’histoire, la linguistique. Dans le champ littéraire, le réseau thématique autour de l’existence de l’homme africain construit la notion de l’identité. Les approches thématiques sont différentes, mais les dissemblances résultent de la préoccupation des auteurs, des visions aussi parallèles que divergentes ; il faudrait ajouter le style qui se renouvelle d’un écrivain à l’autre. Pour ces créateurs, le roman est semblable à un vaste univers symbolique, chaque artiste peut construire, à ses propres goûts, ses fictions, et édifier une écriture particulière. Ces auteurs n’abordent pas les mêmes faits, et ils ne traitent pas de la même façon l’embarras de l’identité. Nous avons voulu comprendre, dans le cadre d’une thèse, la « fortune » littéraire des écrits sur l’identité africaine. Ce désir de clarifier la problématique de l’identité de l’écriture africaine, nous amène à plus de précision, à l’analyse de l’identité selon les démarches et l’imagination de trois auteurs africains : Valentin Yves Mudimbe, Eugène Ebodé et Fatou Diome. Notre particularité est non seulement d’intégrer l’écriture dans la thématique de l’identité, mais aussi d’étudier son évolution à partir de la prise de parole de la femme, surtout lorsque celle-ci est une intellectuelle. L’orientation de notre sujet s’articule selon les rapports entre l’identité africaine et l’écriture romanesque moderne. Au fond, cette étude pourrait nous amener à retracer l’histoire de la littérature africaine, car elle a engendré des liens de l’identité avec la langue, la référence spatiale et temporelle des textes étant l’insularitéThe news of identity remains tied to disciplinary fields like sociology, anthropology, social psychology, history, linguistics. In the literary field, the thematic network around human existence Africa built the notion of identity. The thematic approaches are different, but the differences result from the concern of authors, also parallel visions that differ; should be added style which is renewed for a writer to another. For these creators, the novel is like a huge symbolic universe, each artist can build at its own tastes, his fiction, and build a handwriting. These authors do not have the same facts, and they do not address the same way the embarrassment of identity. We wanted to understand, through a thesis, "fortune" literary writings on African identity. This desire to clarify the issue of the identity of African writing, leads us to more precisely, analysis of identity according to the procedures and imagination of three African writers: Valentin Yves Mudimbe, and Eugene Ebodé Fatou Diome. Our feature is not only to integrate writing in the theme of identity, but also to study its evolution from the speech of women, especially when it is an intellectual. The focus of our topic is based on the relationship between African identity and writing modern fiction. Basically, this study could lead us to trace the history of African literature, because it has created bonds of identity with language, spatial and temporal texts being insular
Books on the topic "Yoko (1960-....)"
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Ono, Yoko. Yoko Ono: Horizontal memories. Edited by Kvaran Gunnar B, Årbu Grete, Ueland Hanne Beate, and Astrup Fearnley museet for moderne kunst. Oslo: Astrup Fearnley Museum of Modern Art, 2005.
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Ono, Yoko. Yoko Ono: Have you seen the horizon lately? Oxford [England]: Museum of Modern Art, 1997.
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Hong, Sŏng-dŏk. Chejoŏp chʻong yoso saengsansŏng ŭi changgijŏk pyŏnhwa, 1967-93. Sŏul Tʻŭkpyŏlsi: Hanʼguk Kaebal Yŏnʼguwŏn, 1996.
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As mazás de Yoko Ono: Ensaio de introducción á arte desde 1980 ata hoxe. A Coruña: Espiral Maior, 1995.
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Taller Nacional sobre Deficiencia de Yodo en la Poblacion (2nd 1990 Ureña, Venezuela). Deficiencia de yodo: II Taller Nacional sobre Deficiencia de Yodo en la Población de Ureña, Estado Tachira, del 15 al 18 de octubre de 1990. Caracas: Ediciones Cavendes, 1993.
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Watson, Clive F. Genealogy of David (d. 1769) and Sarah Watson with emphasis on families of David Watson, 1815-1900, Noble Co., Ohio and Alonzo Heenan Watson, 1860-1935, of Sedgewick, KS: Includes information on allied families of Henthorn, Skinner, Yoho, Smith/Brough, Walker/Gillespie. Arlington, VA: C.F. Watson, 1998.
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Sumner, Melody, Michael Sumner, Kathleen Burch, and John Cage. The Guests go in to supper. Oakland, Calif: Burning Books, 1986.
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Hendricks, Jon, writer of supplementary textual content, Phillpot, Clive, writer of supplementary textual content, Platzker, David, 1965- writer of supplementary textual content, Wilmott, Francesca, writer of supplementary textual content, Yoshimoto, Midori, writer of supplementary textual content, Ono Yōko, and Museum of Modern Art (New York, N.Y.), eds. Yoko Ono: One woman show, 1960-1971. 2015.
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Hong, Song-dok. Chejoop chong yoso saengsansong ui changgijok pyonhwa, 1967-93. Hanguk Kaebal Yonguwon, 1996.
Find full textBook chapters on the topic "Yoko (1960-....)"
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Eckersall, Peter. "Singing Yokoo Tadanori: Ichiyanagi Toshi, the City, and the Aesthetics of Listening." In Performativity and Event in 1960s Japan, 61–80. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017383_4.
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Han, Chang Dae. "Rheology of Molten Polymers with Solubilized Gaseous Component." In Rheology and Processing of Polymeric Materials: Volume 1: Polymer Rheology. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780195187823.003.0019.
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Polymer melts (or polymer solutions) with a solubilized gaseous component (which occur under sufficiently high pressures, thus forming homogeneous mixtures), and polymer melts (or polymer solutions) with dispersed gas bubbles (thus forming heterogeneous mixtures of polymeric fluid and gas bubbles) are encountered in thermoplastic foam processing and polymer devolatilization. Thus, a good understanding of the rheological behavior of such mixtures is very important to the design of processing equipment and successful optimization of such polymer processing operations. From the 1950s through the 1970s, the dynamics of a single, spherical gas bubble dispersed in a stationary Newtonian or viscoelastic medium was extensively reported in the literature (Barlow and Langlois 1962; Duda and Vrentas 1969; Epstein and Plesset 1950; Folger and Goddard 1970; Marique and Houghton 1962; Plessst and Zwick 1952; Rosner and Epstein 1972; Ruckenstein and Davis 1970; Scriven 1959; Street 1968; Street et al. 1971; Tanasawa and Yang 1970; Ting 1975; Yang and Yeh 1966; Yoo and Han 1982; Zana and Leal 1975). While such investigations are of fundamental importance in their own right, they are not much help to describe bubble dynamics in thermoplastic foam extrusion or structural foam injection molding, for instance. There is no question that an investigation of bubble dynamics in a flowing molten polymer with dispersed gas bubbles is a very difficult subject by any measure. Thus, understandably, a relatively small number of research publications on bubble dynamics in a flowing molten polymer have been reported (Han and Villamizar 1978; Han et al. 1976; Yoo and Han 1981). The complexity of the problem arises from other related issues, such as the solubility and diffusivity of gaseous component(s) in a flowing molten polymer, which in turn depend on temperature and pressure of the system. Further, a gaseous component solubilized in molten polymer in the upstream side of a die, for instance, may nucleate as the pressure of the fluid stream decreases along the die axis, after which they could grow continuously as the molten polymer with dispersed gas bubbles flows through the rest of the die.
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Stevens, Carolyn S. "Yoko Ono." In Diva Nation, 115–32. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297722.003.0008.
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Yoko Ono is one of the most recognized Japanese persons overseas. Her 1969 marriage to John Lennon catapulted this bilingual and bicultural avant-garde artist onto a world stage, and Ono both benefited from and suffered greatly under the global media gaze. This chapter looks at how Ono represented transgressive aspects of Japanese womanhood to the world, which loved and hated her in equal turns. This chapter also includes a discussion of a number of Ono's iconic works of performance art, film, and music as feminist statements that still have impact today.
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Dubler, Joshua, and Vincent W. Lloyd. "The Limits of Reformist Religion." In Break Every Yoke, 105–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190949150.003.0004.
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How have American religious communities responded to the rapid growth of the prison? With ambivalence—as we show through case studies of Protestant responses. Protestant institutions consistently spoke out against the growing prison system, charging that it runs against a Christian sense of justice. But, from the 1960s, liberal Protestant elites no longer had the public’s ear. Evangelicals, led by Charles Colson, also spoke out about the prison system from the perspective of biblical justice, but their methods of engagement were too easily incorporated into the prison state. At the margins, meanwhile, Protestant institutions funded a variety of grassroots anti-prison organizations, which generated the restorative justice movement and the international prison abolition movement.
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Dubler, Joshua, and Vincent W. Lloyd. "Prison Religion and Prison Justice." In Break Every Yoke, 153–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190949150.003.0005.
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Using trial records, court decisions, and ethnographic fieldwork, this chapter tracks how the disruptive religious practices of the prisoners’ rights era, including prison strikes, became the accommodating religious practices of America’s prisons today. In other words, it tells the story of the rise and fall of the collectivist prisoners’ religion of the 1960s and the subsequent ascendency of the depoliticized, accommodationist religious forms better suited to the controlled conditions of mass incarceration. Touching on a range of incarcerated people’s writings and rituals, including Martin Luther King Jr., Malcolm X and his conversion to Islam, the Church of the New Song, and the black naturalist sect MOVE, the chapter explores how highlighting the politicizing force of prison and reclaiming the political-theological voices of prisoners might allow us to see new possibilities for justice beyond the prison. With an eye toward what has been repressed, the chapter concludes with the abolitionist promise of the new surge in prisoners’ political organizing.
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Graham, Patricia Albjerg. "Adjustment: 1920–1954." In Schooling America. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195172225.003.0007.
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World War I, according to President Woodrow Wilson and other sloganeers, made “the world safe for democracy.” Americans were largely spared the cataclysmic effects of the Great War endured by Europeans. Nonetheless, the national mood in the United States changed dramatically, and, as is so often the case, this shift in sentiments could be clearly discerned in new priorities for the school system, initially for children of welleducated and wealthy parents. Pundits proclaimed that assimilation had been achieved, although the practices associated with it faded only gradually over the next two decades and particularly persisted in schools serving immigrant and other low-income children. America in the 1920s experienced a period of growing wealth, considerable corporate and governmentally ignored greed, widespread racial and religious bigotry, and rapidly changing social mores, particularly for urbanites. In such a period, discussions about the national need for assimilation as a means of preserving the democracy seemed out of place. With so much change in the air, “adjustment” to the new times emerged as the new catchword. Many of the most salient events and practices of the post–World War I period (the Teapot Dome financial scandal, the rise of the Ku Klux Klan, lynchings of blacks in the South, and the economic depression following the stock market crash of 1929) did not reflect well on the democracy Americans aspired to have. President Wilson might claim that the world was “safe for democracy,” but his piece of the world, the United States, did not admirably demonstrate it at the time. Nor, of course, did the new Soviet Russia, recently emerged both from incredible losses in World War I and from the yoke of the czars and now engaging in a different form of authoritarian rule. Germany, principal adversary of the Allies in World War I, entered the 1920s badly broken. The Germans attempted a new and ultimately unstable form of government before acquiescing to Hitler’s takeover in 1933, resulting in a devastating defeat of democracy. As the Roaring Twenties took off, American educators, always anxious to be au courant with what was expected of them, found their old priorities obsolete. Prescient school men recognized that the focus was shifting from schools serving a need defined by the nation (assimilation) to one defined by informed, ambitious, and often affluent parents seeking a more supportive school environment for their children and by newly articulate professors of education.
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"The past in the present: Yokoi Shōichi returns from Guam, 1972." In Japanese Army Stragglers and Memories of the War in Japan, 1950-75, 123–47. Routledge, 2013. http://dx.doi.org/10.4324/9780203480472-12.
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Hu, Tze-yue G. "Interpretations and Thoughts of the Animated Self in Cowherd’s Flute." In Animating the Spirited, 116–36. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0009.
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Existing published works on classic Chinese watercolor-and-ink animation (shuimo donghua) tend to focus on the propaganda-nationalistic aspects of its making. This essay, however, draws attention to the philosophical side of the story-telling images and narratives found principally in the animated works directed by the late animator, Te Wei (1915-2010), who was a founding member of the Shanghai Animation Studio. The animated work, Cowherd’s Flute (1963), is the main focus in this essay. The essay argues that the spiritual yoke of Te Wei’s watercolor-and-ink animation is profoundly Daoist, reflecting a traditional Chinese native philosophy in a subtle technological setting. It advances the view that such generic animation has rekindled a laden strand of Chinese heritage thought by giving life and movement to its aesthetic and philosophical elements. The author also theorizes the concept of the animated self in the light of the historical-political environment in which the animation was made.
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Keeling, Kara K., and Scott T. Pollard. "“Beating Eggs Never Makes the Evening News”." In Table Lands, 144–65. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828347.003.0009.
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In One Crazy Summer and its sequels P.S. Be Eleven, and Gone Crazy in Alabama, Rita Williams-Garcia tracks the movement of African-American diasporas, generationally and geographically, through changes in food preparation and consumption. This chapter examines the third novel in the series first, showing how Delphine, the protagonist, becomes aware that her family’s identity is grounded in the deep roots of southern country foodways, dependent on personally raised or locally produced foods (especially milk and eggs) that are usually slow-cooked. The middle novel demonstrates the popularity of post-war convenience foods, cooked quickly and simply to match the faster tempo of urban life common to the generation that had made the Great Migration. The first novel, set in urban Oakland in the revolutionary year of 1968, shows the revolutionary power of food, most overtly through the Black Panthers’ breakfast program, which sought to better life for urban families by improving poor nutrition as well as to empower them politically. The novel also presents the deconstruction of the traditional kitchen: Cecile, the mother of Delphine and her sisters, rejects and revises the “yoke” of women’s service to men and family by making her kitchen into an art studio, redefining it as a new space that is both maternal and professional.
Conference papers on the topic "Yoko (1960-....)"
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ABIŞOV, Vagif. "TÜRKİYE'NİN I. DÜNYA SAVAŞI SONRASI DURUMU (1918-1920) (“AZƏRBAYCAN” QƏZETESI DAYALI)." In 9. Uluslararası Atatürk Kongresi. Ankara: Atatürk Araştırma Merkezi Yayınları, 2021. http://dx.doi.org/10.51824/978-975-17-4794-5.85.
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Makalenin temel amacı, Birinci Dünya Savaşı'nın sonunda Türkiye'nin iç ve dış sorunlarının bazılarını analiz etmektir. Sorunu analiz ederken, “Azerbaycan” gazetesinin (1918-1920´ yıllar) sayfalarında yer alan makalelere atıfta bulunulduğu gibi, birçok bilimsel çalışmaya da yer verildi. Yazarın amaçlarından biri de, geniş kitlelere ve bilim insanlarına, “Azerbaycan” gazetesinin sayfalarında Türkiye ile ilgili önemli bilgileri iletmektir. Sorun hakkında Türkiye'de çeşitli yıllarda çok sayıda anıtsal edebiyat, bilimsel araştırma çalışmaları ve zengin arşiv belgeleri toplanmıştır. Genel olarak, bu dönem (1918-1920) Türk tarihinde son derece önemlidir. Ancak, yukarıda da belirtildiği gibi, ana odak “Azerbaycan” gazetesinin sayfalarında yayınlanan makaleler üzerineydi. 1918-1920´ yıllarında “Azerbaycan” gazetesinin sayfalarında yayınlanan bilgilerin yanı sıra dönemin araştırmacıları için de elimizde tutuyoruz. Bizim düşüncemize göre, “Azerbaycan” gazetesinde Türkiye’nin (1918-1920´ yıllar) tarihi boyunca yayınlanan materyallerin analizi birçok karanlık anı aydınlatacaktır. Tarihsel belgelere göre, Birinci Dünya Savaşı'ndan sonra en çok tartışılan konulardan birinin savaşta bir yenilgi içinde olan Türkiye'nin kaderi olduğu bilinmektedir. O zaman, Azerbaycan Cumhuriyeti resmi “Azerbaycan” gazetesinde, konuyla ilgili ilginç bilgiler yayınladı. Bu analiz sonucunda, Türkiye'nin önümüzdeki yıllarda ne kadar zor olduğunu ve muzaffer devletlerin Türk devletinin geleceği konusundaki pozisyonlarını görmek mümkündür. Birinci Dünya Savaşı'nı kazanan devletler, Osmanlı İmparatorluğu topraklarını ve Türk milletinin kaderini nasıl bölecekleri konusunda çok sayıda tartışma yapmıştı. ABD'nin Türkiye Büyükelçisi Morgan Tau, ABD Başkanı Woodrow Wilson'a mektupta ve notunda bütün şu olayların boşuna olmadığını yazdı. Morgan Tau, Türkiye'nin başlıca üç bölüme ayrılabileceğini yazıyor: 1) Konstantinopolis ve çevresi; 2) Türk nüfusunun yaşadığı Anadolu; 3) Ermenistan. Emperyalist güçler Türkiye'yi yok edilmeyi düşündü. Ama anlamadılar başka bir Türkiye vardı - bu bir Türk milletiydi. Devletler bilmiyordu ve bilmiyorlardı. Birinci Dünya Savaşı'nda yenilgiye uğratılan Türkiye'nin hayatta kalması, büyük ölçüde ulusal güçlerin birliğine ve halkın düşmana karşı direncine bağımlıydı. Erzurum (23 Temmuz - 7 Ağustos 1919) ve Sivas (4-11 Eylül 1919) kongrelerinde Türkiye devletinin kaderi, işgal güçlerine karşı kuvvetlerin birleştirilmesi ve Mustafa Kemal Paşa'nın önderliğinde alınan kararlar büyük önem taşımaktadır. Nihayet, Antanta Devletleri'nin Türkiye'nin bir devlet olarak varlığını sona erdirme girişimleri, ulusun ulusal devrimi ve antiemperyalist mücadele ile yüzleşmek zorunda kaldı. Sonuç olarak, Türkiye varlığını sürdürmeyi başardı.