Philosophy Enters the Optics Laboratory: Bell's Theorem and its First Experimental Tests (1965-1982)

This paper deals with the ways that the issue of completing quantum mechanics was brought into laboratories and became a topic in mainstream quantum optics. It focuses on the period between 1965, when Bell published what now we call Bell's theorem, and 1982, when Aspect published the results of his experiments. I argue that what was considered good physics after Aspect's experiments was once considered by many a philosophical matter instead of a scientific one, and that the path from philosophy to physics required a change in the physics community's attitude about the status of the foundations of quantum mechanics.Comment: 57 pages, accepted by Studies in History and Philosophy of Modern Physic

Donald Austin Olewine papers

This collection consists of Donald Austin Olewine’s research on various subjects related to medical physiology and biology. Materials span 1965-1982 and include published and unpublished articles, pamphlets, brochures, magazines, and student work. Find this collection in the University Libraries\u27 catalog.https://digitalcommons.georgiasouthern.edu/finding-aids/1063/thumbnail.jp

19880406: President Robert B. Hayes Papers, 1965-1982

These items include materials from the Office of the President Marshall University from 1965-1982. Items were received in 1988 and include notable materials from the investigations into NCAA violations in the football and basketball programs in 1969. Please download the finding aid for a full list of contents

1-49 Administrative Records of Henry L. Ashmore, 1964-1982

Administrative Records of Henry Ashmore. (1920-1989, bulk 1965-1982) 48 linear feet. Correspondence, memos, reports, publications of the College, newspaper clippings, speeches and minutes of meetings of Henry Ashmore, The records are arranged into three series: Series One: Correspondence Series Two: Minutes of Meetings Series Three: Miscellaneoushttps://digitalcommons.georgiasouthern.edu/finding-aids-lane/1022/thumbnail.jp

Le site Web des Archives de Radio-Canada et les femmes en 2007 : une présence limitée, une histoire partiellement racontée

Cet article montre la place marginale qu’occupent en 2007 les femmes dans le site Web des Archives de Radio-Canada, site à vocation informative et éducative sur l’histoire canadienne. On y découvre tout de même quelques figures féminines importantes, souvent des écrivaines ou des pionnières de milieux traditionnellement masculins, des émissions féminines clés, dont le magazine télévisé Femme d’aujourd’hui (1965-1982) qui fait place aux enjeux féministes de la deuxième vague, et des professionnelles de la radio et de la télévision d’État, telle la journaliste vedette Judith Jasmin. L’histoire des femmes au XXe siècle y demeure, quoi qu’il en soit, partiellement racontée.In 2007, women occupied a marginal space on Radio-Canada’s archive web site, whose goal is to provide informative and educational content on Canadian history. Some important female figures are nevertheless present, especially authors or pioneers in traditional male occupations, key women oriented programs, including the television program Femme d’aujourd’hui (1965-1982) that addressed Second Wave feminism issues, and professionals from State radio and television such as star journalist Judith Jasmin. Despite this presence, the history of women in the 20th century still remains partially told

Changes in water quality in Finnish lakes 1965—1982

Järvien veden laadun muutoksista v. 1965—198

Dwight D. Eisenhower Presidential Portraits Playing Card deck featuring Abraham Lincoln

Box (2671 C) containing Dwight D. Eisenhower Presidential Portrait Playing Cards. One deck illustrated with portrait of A. Lincoln (2671 A), the other with George Washington (2671 B). There are 54 cards total. On the back of each card is a portrait of President George Washington. printed by Standcraft Products a subsidiary of Brown & Bigelow (American, 1920s-1980s) copyright held by Eisenhower College (American, 1965-1982)https://scholarsjunction.msstate.edu/fvw-artifacts/4667/thumbnail.jp

A Critical Review of Strategic Conflict Theory and Socio-political Instability Models

This paper provides a critical general overview of two strands of recent vast economic literature on social conflicts, namely strategic conflict theory and socio-political instability models. The first strand can be traced back to Haavelmo (1954) and has been further developed in a variety of ways by game theoretical models of rational conflict (Boulding, 1962; Schelling, 1963, Hirshleifer, 2001). Their goal is to understand threat power. A second version of conflict theory has been developed by the founders of the Public Choice School (Olson 1965, 1982; Tullock 1974, 1980; Stringham, 2005, 2007) in order to tackle genuine political violence. The main finding of this paper is that both strands of recent economic literature have not yet come to grips with social conflicts. The application of standard microeconomic assumptions to the field of "social conflicts" has resulted in reducing conflicts either to "rational conflicts"- a threat of conflict without any real clash - or "real self-interested private conflicts". In other words, economic theory has considered social protesters either as looters or lunatics, but never as a group of people struggling for a common cause.Strategic Conflict Theory, Socio-political instability models, Coase theorem, Appropriative activity, Social Conflicts

Cartoon Fables : Animal Symbolism in Kukryniksy’s Pravda Political Cartoons, 1965–1982

Recent conflicts have highlighted that international and domestic propaganda campaigns, particularly in Russia, are once again becoming more significant. To understand this phenomenon, it is important to study the historical roots of propaganda in Russia, the tools and mechanisms that propagandists use to influence the political discourse. Animal symbolism is one of the most important of these tools. It is often used to belittle the enemy by describing their “non-human” nature. Furthermore, in using animals to depict negative characteristics of their enemies, propaganda also inadvertently builds upon and develops negative cultural stereotypes that are associated with those animals, thus creating a sort of feedback loop wherein the one strengthens the other. This dissertation examines the ways in which the famous Soviet propaganda artist trio Kukryniksy used animal symbolism in their political cartoons published during the rule of Leonid Brezhnev (1965—1982). The primary material of the research consists of 117 animal cartoons that were published in the Soviet Union’s main news source, Pravda. Methodologically and in its theoretical approach, this dissertation draws from a range of multidisciplinary fields, including Russian Studies, Propaganda Studies, Art History, and Human-Animal Studies. Its theoretical approach is largely based on frame theory and cartoon theory. The thesis is mainly based on qualitative methods. It relies on composition and discourse analysis, paying particular attention to how the cartoons worked within and reinforced preexisting cultural frameworks. There is also a quantitative element based around a content analysis of the frequency of various elements in the cartoons. The analysis of the frames Kukryniksy created and the techniques they used, shows that their animal symbols derived their significance from the animals’ proximity to the humans’ sphere of living, their behavioural traits, utilitarian functions, and linguistic and cultural nuances. With the use of culturally dependent references and different cartooning techniques, Kukryniksy constructed a framework in which the animal metaphor revealed the “true” nature of the enemy and taught the audience the moral of the story of international politics. As such, Kukryniksy’s political cartoons are part of a long tradition of Russian and Soviet propaganda that used animal symbolism to describe the enemy and divide the world into two spheres, “us” and “them”. By analysing this historical propaganda, this dissertation thus also helps us to better understand and deconstruct contemporary propaganda campaigns.Viimeaikaisissa konflikteissa kansainvälisten ja kansallisten propagandakampanjoiden merkitys on korostunut ja tullut näkyvämmäksi; erityisesti huomion kohteena on ollut venäläinen propaganda. Venäläisen propagandan ymmärtämiseksi on tärkeää tutkia sen historiallisia juuria, sekä niitä välineitä ja mekanismeja, joilla propagandistit pyrkivät vaikuttamaan poliittiseen diskurssiin. Eläinsymboliikka on eräs merkittävä keino, jolla poliittiseen diskurssiin pyritään vaikuttamaan. Sitä käytetään vihollisen vähättelemiseen kuvaamalla tämä “epäinhimillisenä” olentona. Käyttämällä eläinsymboliikkaa propaganda ammentaa eläimiin liittyvistä negatiivisista kulttuurisista stereotypioista, samalla myös vahvistaen niitä. Näin syntyy eräänlainen itseään ruokkiva kehä, jossa propaganda ja stereotypiat vahvistavat toinen toistaan. Tämä väitöskirja tarkastelee kuuluisan neuvostoliittolaisen propagandataiteilijakolmikko Kukryniksyn tapoja käyttää eläinsymboleja pilakuvissaan Leonid Brežnevin hallintokauden (1965–1982) aikana. Tutkimuksen primaariaineisto koostuu 117 Pravdassa, Neuvostoliiton pääasiallisessa uutislähteessä, julkaistusta eläinpilakuvasta. Metodologiselta ja teoreettiselta pohjaltaan väitöskirja on monitieteellinen. Se asemoituu Venäjän tutkimuksen, propagandatutkimuksen, taidehistorian, sekä yhteiskunnallisen ja kulttuurisen eläintutkimuksen kenttään. Teoreettisina lähtökohtina toimivat kehysteoria ja pilakuvateoriat. Pääsääntöisesti tutkimus on kvalitatiivinen. Se tukeutuu rakenneanalyysiin ja diskurssianalyysiin. Erityisesti tarkastellaan pilakuvien toimintaa osana olemassa olevia viitekehyksiä sekä tapoja, joilla pilakuvat vahvistivat näitä viitekehyksiä. Tutkimuksessa on myös kvantitatiivisia, sisältöanalyysiin perustuvia tarkasteluja, joissa esitetään pilakuvien ja niissä esiintyneiden teemojen frekvenssejä. Kukryniksyn luomien kehysten ja käyttämien tekniikoiden analyysi paljastaa, että taiteilijakolmikon eläinsymbolien merkitykset kumpuavat pilapiirroksissa esiintyvien eläinten käyttäytymisestä, läheisyydestä ihmisten elinpiiriin, käyttötarkoituksista sekä kielellisistä ja kulttuurisista merkitysvivahteista. Kulttuurisidonnaisia viittauksia ja erilaisia pilakuvatekniikoita käyttäen Kukryniksy rakensi viitekehyksen, jossa eläinmetafora paljasti vihollisen “todellisen” luonteen ja pyrki samalla kertomaan lukijoille kansainvälisen politiikan takana piilevän moraalisen tarinan. Näin Kukryniksyn pilakuvat asemoituvat osaksi pitkää venäläisen ja neuvostoliittolaisen propagandan jatkumoa, joka käytti eläinsymboleita vihollisen kuvaamiseen ja maailman jakamiseen kahteen binääriseen kenttään, “meihin” ja “heihin.” Analysoimalla historiallista propagandaa tämä tutkimus auttaa paremmin ymmärtämään ja dekonstruoimaan yleisemminkin nykyaikaisia propagandakampanjoita.Siirretty Doriast