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Книги з теми "Images assimilation"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Images assimilation.

Автор: Grafiati

Опубліковано: 21 липня 2022

Оновлено: 8 серпня 2022

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1

Saurma-Jeltsch, Lieselotte E., and Anja Eisenbeiss. Images of otherness in medieval and early modern times: Exclusion, inclusion and assimilation. Berlin: Deutscher Kunstverlag, 2012.

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2

Said, Halimah Mohd. Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. [Kuala Lumpur]: Universiti Pendidikan Sultan Idris, 2004.

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3

Marques, José Alexandre Cardoso. Images de Portugais en France: Immigration et cinéma. Paris, France: L'Harmattan, 2002.

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4

Novaes, Sylvia Caiuby. Jogo de espelhos: Imagens da representação de si através dos outros. São Paulo, SP, Brasil: Edusp, 1993.

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5

Cruz, David González. Pueblos indígenas y extranjeros en la monarquía hispánica: La imagen del otro en tiempos de guerra (siglos XVI-XIX). Madrid: Sílex, 2011.

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6

Kooten, Geurt Hendrik van. Paul's anthropology in context: The image of God, assimilation to God, and tripartite man in ancient Judaism, ancient philosophy and early Christianity. Tübingen: Mohr Siebeck, 2008.

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7

Berkowitz, Michael. The Jewish self-image: American and British perspectives, 1881-1939. London: Reaktion, 2000.

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8

Berkowitz, Michael. The Jewish self-image: American and British perspectives, 1881-1939. London: Reaktion Books, 2000.

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9

United States. Congress. Senate. Committee on Indian Affairs (1993- ). Reclaiming our image and identity for the next seven generations: Hearing before the Committee on Indian Affairs, United States Senate, One Hundred Twelfth Congress, second session, July 26, 2012. Washington: U.S. Government Printing Office, 2013.

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10

Brown, Janine Elizabeth. Looking in the mirror, looking in the curriculum: The perpetuation of Eurocentric images. 2007.

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11

Campbell, Craig. Agitating Images: Photography against History in Indigenous Siberia. Univ Of Minnesota Press, 2014.

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12

Campbell, Craig. Agitating Images: Photography against History in Indigenous Siberia. Univ Of Minnesota Press, 2014.

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13

Cuộc đời với bóng dáng xưa =: Life with past images : personal accounts by eight Vietnamese settlers in Australia. Coburg, Victoria, Australia: School of Community Studies, Phillip Institute of Technology, 1986.

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14

Kosstrin, Hannah. White Rooms, Red Scare. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0005.

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Anna Sokolow’s early Cold War choreography cloaked social(ist) challenges to the status quo under the façade of American modernism. Lyric Suite (1953) laid bare sexual discontent in the guise of universal abstraction; Rooms (1954) portrayed gay people’s and Jews’ experiences among those of society’s untouchables in tenement houses; and the Opus series (1958–1965) cemented the political significance of the Old Left meeting the New Left through ironic uses of musical and movement elements drawn from jazz, as Africanist elements like these signaled a generalized Americanness. Sokolow’s assimilation into concert dance whiteness through these works’ critical reception and Israeli Bonds festivals reflected the American Jewish community’s postwar assimilation from racially marked to Caucasian. Sokolow’s work evidences roles played by leftist Jews in crafting definitive images of midcentury Americana as they publicly rewrote their 1930s leftist actions into normative postwar American activities in the wake of the Second Red Scare.

15

Nishime, Leilani. Aliens. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038075.003.0004.

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This chapter examines the visual exclusion of multiracial Asians. It also looks at television and film's overt use of multiracial tropes to signal utopic/dystopic futures. The science-fiction television series Battlestar Galactica follows the logic of post-race, wherein racial differences are acknowledged but then ignored. The show's narrative hinges upon the survival of a child, Hera, the bi-species and multiracial child of the cyborg Athena (Korean American actress Grace Park) and the human Helo (Euro-American actor Tahmoh Penikett). Hera's representation resonates with images of the multiracial children of servicemen from the Korean War and Vietnam War, images that tie Asian adoption to concerns about the role of the United States as global citizens and global police. Yet as the story continues, attention moves from the adoptive child to the interracial relationship of her parents. This movement mimics similar shifts in the ways the United States imagines itself in relation to Asia, and how it rewrites its neocolonialism through the celebration of gender-normative heterosexual romance. Hera's role in the series requires her to be symbolically present but physically absent to give coherence to a story that evolves from one of conflict and colonialism to a tale of highly gendered immigration and assimilation.

16

Brennan, T. Corey. Final Years in Rome. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190250997.003.0009.

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Direct evidence for Sabina’s activities as Augusta in and around Rome is disappointing. Although inscriptions suggest some (limited) benefactions by the empress, the most conspicuous expression of Sabina’s heightened status comes from the Rome mint, which produced an impressive series of original images publicizing the empress’s imperial virtues. Changing titulature and hairstyles on Sabina’s Rome coins help establish a relative chronology and an understanding of the intended messages. The provincial coin issues bearing Sabina’s portrait are harder to assess: on their reverses their subject matter overlaps significantly with types showing the emperor. The regime also offered ever-changing sculptural images of Sabina. On both coins and sculptures, this era’s portrait artists, generally abandoning naturalism, pictured the middle-aged empress as a young serene beauty. The chapter also quantifies Sabina’s assimilation to specific goddesses in the eastern inscriptions, and seeks to understand how eastern communities balanced public honors for Hadrian, Sabina, and Antinoös.

17

Liu, Cathay. Acculturation and body image. 1991.

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18

Pasto, James S. Immigrants and Ethnics. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040955.003.0005.

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This chapter presents post-World War II Italian immigration to Boston’s North End against tropes of mafia, racial conflict, and white flight in favor of analysis in terms of segmented assimilation and ethnic replenishment. It describes the following differential pattern: Italian immigrants replenished the Italian American population as younger immigrants “Italian Americanized” into the ethnic group; or, Italian immigrants “transnational Americanized” by maintaining a more linear Italian ethnicity. The former limited mobility and exposed the new immigrant to an oppositional culture; the latter enhanced mobility and limited contacts with the Italian American group. Transitional Italian Americans were thus well positioned to refashion the italianità of the neighborhood in conformity with post-War images of Italian culture and the gentrification of the “North End” into Boston’s “Little Italy.”

19

Rush, Star. Sp(L)itting image: A memoir of a Vietnamese-American girlhood. 1997.

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20

Mruczek, Ryan E. B., D. Blair Christopher, Lars Strother, and Gideon P. Caplovitz. Dynamic Illusory Size Contrast. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0027.

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Static size contrast and assimilation illusions, such as the Ebbinghaus and Delboeuf illusions, show that the size of nearby objects in a scene can influence the perceived size of a central target. This chapter describes a dynamic variant of these classic size illusions, called the Dynamic Illusory Size-Contrast (DISC) effect. In the DISC effect, a surrounding stimulus that continuously changes size causes an illusory size change in a central target. The effect is dramatically enhanced in the presence of additional stimulus dynamics arising from eye movements or target motion. The chapter proposes that this surprisingly powerful effect of motion on perceived size depends on the degree of uncertainty inherent in the size of the retinal image of a moving object.

21

Hudson, Dale. Blood, Bodies, and Borders. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0002.

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This chapter compares two films that reinterpret Bram Stoker’s 1897 novel Dracula and its vampire in different ways. Francis Ford Coppola’s Bram Stoker’s Dracula (1992) parodies a nostalgic and orientalist perspective on debates about the place of the Middle East in the formation of US transnational identity and history, whereas Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2014) moves towards this history’s radical revision. Coppola imagines a “vampire ayatollah” during the first US invasion of Iran’s neighbor Iraq; Amirpour, as a feminist hijabi in the sonic space of Tehrangeles. The filmmakers’ familial trajectories underscore Hollywood’s transnational constitution as linked to US policy. The comparison develops a critical approach for how vampires serve as both object and mode of analysis throughout the book. Stoker’s tropes of blood, bodies, and borders map onto US laws concerning race, immigration, and assimilation.

22

Taiz, Lincoln, and Lee Taiz. From Herbals to Walled Gardens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190490263.003.0010.

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Chapter ten focuses on botanical thought of the Middle Ages in the Roman, Eastern and Islamic Empires when herbals devolved from practical field guides to decorative status symbols, and Dioscorides developed his classifications of sex in plants according to anthropomorphic criteria, such as hardness or softness. Dioscorides’ authority endured into the sixteenth century. Sources including The Book of Idols and the Ethiopian Book of Enoch inform the discussion of pre-Islamic vegetation goddesses Allat and Al-’Uzza, and the Satanic Verses. Zakariya Muhammad Qazwini suggested the palm was human-like, with two sexes and “a sort of copulation” required for fruit production. The Quranic story of Mary and the date palm reprised “The Cherry Tree Carol,” both evidencing her assimilation of pagan goddesses. After the Council of Ephesus’s sanction of the cult of the Virgin as Theotokos, her cult bourgeoned. Her imagery often centered on gardens, fruits, and flowers symbolizing her purity.

23

Zhao, Jing Jamie. Queering the Post-L Word Shane in the “Garden of Eden”. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390809.003.0005.

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This chapter presents a critical analysis of Chinese fans’ queer gossip discourse surrounding the American actress Katherine Moennig, most famous still for her breakthrough role as a butch lesbian character in the television series The L Word (Showtime, 2004–2009). Through a deconstructive reading of the gossip that imagines Moennig’s real-life lesbian gender identities and homoerotic relationships in one of the largest cross-cultural fandoms in Chinese cyberspace, The Garden of Eden (Yidianyuan), the author reveals that, rather than simply assimilating or rejecting the normative understandings of the West as a civilized, queer-friendly haven and China as a backward, heterocentric nation, the fans’ intricate fantasies about the Western queer world reflect their subjective, hybridized reappropriation and reinscription of the Chinese queer Occidentalist imaginations. Ultimately, she argues that the queer Occidentalism exemplified in this cross-cultural gossip functions as a survival strategy for queer fans to interrogate the depressing, heteropatriarchal realities in contemporary mainstream Chinese society.

24

Minett, Mark. Robert Altman and the Elaboration of Hollywood Storytelling. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523827.001.0001.

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Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the “Hollywood Renaissance” or “New Hollywood” period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs a historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman’s filmmaking history and profile—lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate on their sanctioned practices and aims. We misunderstand Altman’s work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.