4,138 research outputs found
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 Olewineâs 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 Materials span 1965-1982 and include published and unpublished articles, pamphlets, brochures, magazines, and student work.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 quâoccupent en 2007 les femmes dans le site Web des Archives de Radio-Canada, site Ă vocation informative et Ă©ducative sur lâhistoire canadienne. On y dĂ©couvre tout de mĂȘme quelques figures fĂ©minines importantes, souvent des Ă©crivaines ou des pionniĂšres de milieux traditionnellement masculins, des Ă©missions fĂ©minines clĂ©s, dont le magazine tĂ©lĂ©visĂ© Femme dâaujourdâhui (1965-1982) qui fait place aux enjeux fĂ©ministes de la deuxiĂšme vague, et des professionnelles de la radio et de la tĂ©lĂ©vision dâĂtat, telle la journaliste vedette Judith Jasmin. Lâhistoire des femmes au XXe siĂšcle y demeure, quoi quâil en soit, partiellement racontĂ©e.In 2007, women occupied a marginal space on Radio-Canadaâs 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 dâaujourdâhui (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 1965â1982
JĂ€rvien veden laadun muutoksista v. 1965â198
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 Kukryniksyâs Pravda Political Cartoons, 1965â1982
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 ânon-humanâ 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 (1965â1982). The primary material of the research consists of 117 animal cartoons that were published in the Soviet Unionâs 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 animalsâ proximity to the humansâ 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 âtrueâ nature of the enemy and taught the audience the moral of the story of international politics. As such, Kukryniksyâs 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, âusâ and âthemâ. By analysing this historical propaganda, this dissertation thus also helps us to better understand and deconstruct contemporary propaganda campaigns.Viimeaikaisissa konflikteissa kansainvĂ€listen ja kansallisten propagandakampanjoiden merkitys on korostunut ja tullut nĂ€kyvĂ€mmĂ€ksi; erityisesti huomion kohteena on ollut venĂ€lĂ€inen propaganda. VenĂ€lĂ€isen propagandan ymmĂ€rtĂ€miseksi on tĂ€rkeÀÀ tutkia sen historiallisia juuria, sekĂ€ niitĂ€ vĂ€lineitĂ€ ja mekanismeja, joilla propagandistit pyrkivĂ€t vaikuttamaan poliittiseen diskurssiin. ElĂ€insymboliikka on erĂ€s merkittĂ€vĂ€ keino, jolla poliittiseen diskurssiin pyritÀÀn vaikuttamaan. SitĂ€ kĂ€ytetÀÀn vihollisen vĂ€hĂ€ttelemiseen kuvaamalla tĂ€mĂ€ âepĂ€inhimillisenĂ€â olentona. KĂ€yttĂ€mĂ€llĂ€ elĂ€insymboliikkaa propaganda ammentaa elĂ€imiin liittyvistĂ€ negatiivisista kulttuurisista stereotypioista, samalla myös vahvistaen niitĂ€. NĂ€in syntyy erÀÀnlainen itseÀÀn ruokkiva kehĂ€, jossa propaganda ja stereotypiat vahvistavat toinen toistaan.
TĂ€mĂ€ vĂ€itöskirja tarkastelee kuuluisan neuvostoliittolaisen propagandataiteilijakolmikko Kukryniksyn tapoja kĂ€yttÀÀ elĂ€insymboleja pilakuvissaan Leonid BreĆŸnevin hallintokauden (1965â1982) aikana. Tutkimuksen primaariaineisto koostuu 117 Pravdassa, Neuvostoliiton pÀÀasiallisessa uutislĂ€hteessĂ€, julkaistusta elĂ€inpilakuvasta. Metodologiselta ja teoreettiselta pohjaltaan vĂ€itöskirja on monitieteellinen. Se asemoituu VenĂ€jĂ€n tutkimuksen, propagandatutkimuksen, taidehistorian, sekĂ€ yhteiskunnallisen ja kulttuurisen elĂ€intutkimuksen kenttÀÀn. Teoreettisina lĂ€htökohtina toimivat kehysteoria ja pilakuvateoriat. PÀÀsÀÀntöisesti tutkimus on kvalitatiivinen. Se tukeutuu rakenneanalyysiin ja diskurssianalyysiin. Erityisesti tarkastellaan pilakuvien toimintaa osana olemassa olevia viitekehyksiĂ€ sekĂ€ tapoja, joilla pilakuvat vahvistivat nĂ€itĂ€ viitekehyksiĂ€. Tutkimuksessa on myös kvantitatiivisia, sisĂ€ltöanalyysiin perustuvia tarkasteluja, joissa esitetÀÀn pilakuvien ja niissĂ€ esiintyneiden teemojen frekvenssejĂ€.
Kukryniksyn luomien kehysten ja kĂ€yttĂ€mien tekniikoiden analyysi paljastaa, ettĂ€ taiteilijakolmikon elĂ€insymbolien merkitykset kumpuavat pilapiirroksissa esiintyvien elĂ€inten kĂ€yttĂ€ytymisestĂ€, lĂ€heisyydestĂ€ ihmisten elinpiiriin, kĂ€yttötarkoituksista sekĂ€ kielellisistĂ€ ja kulttuurisista merkitysvivahteista. Kulttuurisidonnaisia viittauksia ja erilaisia pilakuvatekniikoita kĂ€yttĂ€en Kukryniksy rakensi viitekehyksen, jossa elĂ€inmetafora paljasti vihollisen âtodellisenâ luonteen ja pyrki samalla kertomaan lukijoille kansainvĂ€lisen politiikan takana piilevĂ€n moraalisen tarinan. NĂ€in Kukryniksyn pilakuvat asemoituvat osaksi pitkÀÀ venĂ€lĂ€isen ja neuvostoliittolaisen propagandan jatkumoa, joka kĂ€ytti elĂ€insymboleita vihollisen kuvaamiseen ja maailman jakamiseen kahteen binÀÀriseen kenttÀÀn, âmeihinâ ja âheihin.â Analysoimalla historiallista propagandaa tĂ€mĂ€ tutkimus auttaa paremmin ymmĂ€rtĂ€mÀÀn ja dekonstruoimaan yleisemminkin nykyaikaisia propagandakampanjoita.Siirretty Doriast
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