8,207 research outputs found

    Designs of Blackness

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    Across more than two centuries Afro-America has created a huge and dazzling variety of literary self-expression. Designs of Blackness provides less a narrative literary history than, precisely, a series of mappings‚ÄĒeach literary-critical and comparative while at the same time offering cultural and historical context. This carefully re-edited version of the 1998 publication opens with an estimation of earliest African American voice in the names of Phillis Wheatley and her contemporaries. It then takes up the huge span of autobiography from Frederick Douglass through to Maya Angelou. "Harlem on My Mind," which follows, sets out the literary contours of America‚Äôs premier black city. Womanism, Alice Walker‚Äôs presiding term, is given full due in an analysis of fiction from Harriet E. Wilson to Toni Morrison. Richard Wright is approached not as some regulation "realist" but as a more inward, at times near-surreal, author. Decadology has its risks but the 1940s has rarely been approached as a unique era of war and peace and especially in African American texts. Beat Generation work usually adheres to Ginsberg and Kerouac, but black Beat writing invites its own chapter in the names of Amiri Baraka, Ted Joans and Bob Kaufman. The 1960s has long become a mythic change-decade, and in few greater respects than as a black theatre both of the stage and politics. In Leon Forrest African America had a figure of the postmodern turn: his work is explored in its own right and for how it takes its place in the context of other reflexive black fiction. "African American Fictions of Passing" unpacks the whole deceptive trope of "race" in writing from Williams Wells Brown through to Charles Johnson. The two newly added chapters pursue African American literary achievement into the Obama-Trump century, fiction from Octavia Butler to Darryl Pinkney, poetry from Rita Dove to Kevin Young

    Handbuch Zeitschriftenforschung

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    Wie werden Gesellschaften in Zeitschriften betrachtet und welche Übersetzungsleistungen bieten jene in unterschiedlichen gesellschaftlichen Kontexten? Um diesen Fragen nachzugehen, analysieren die Beiträger*innen des Bandes das Zusammenspiel von Textgestaltung, Design, Inhalten, Infrastrukturen und Zielgruppen von Zeitschriften. Sie erweitern den Blick im Rahmen einer differenzierungstheoretischen Forschungsagenda und betrachten Zeitschriften als materialisierte Zeichensysteme und kommunikative Artefakte innerhalb der materiellen Kultur der Gesellschaft

    Gender und Recht : Perspektiven aus den Legal Gender Studies

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    The role of women entrepreneurs in corporate family firms:Case study evidence from Nigeria

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    This thesis‚Äô topic, ‚ÄúThe Role of Women Entrepreneurs in Corporate Family Firms: Case Study Evidence from Nigeria,‚ÄĚ draws its understanding from three theoretical perspectives: the resourcebased view, liberal feminism, and altruism. The study seeks to understand why and how women entrepreneurs in corporate family firms influence their family and firm‚Äôs harmony, growth, and development. This study introduces polygamy ‚Äď a form of marriage involving multiple partners ‚Äď as a novel dimension in the family firm concept. The polygamous approach is alien in Europe and several other regions, but it is practised in Africa (in this case, Nigeria). This study brings this perspective to the literature to buttress the Nigerian view of family and firms. The argument is that polygamy is endemic, deeply rooted, and not a dying practice in Nigeria. Therefore, the lack of studies on the role of women entrepreneurs, specifically within the polygamous family structure, poses a research gap. To address this research gap, the study examines the success attained by women entrepreneurs and how it can be replicated and contribute to the development of their family firms, i.e., private universities, and Nigeria at large. In this vein, this study has examined forty-two research participants: seventeen males and twenty-five females (consisting of family firm members). This study uses a case study methodology involving data collection via interviews, observations, and documentation from family-owned and managed private universities in Nigeria. The findings from this study reveal that women are innovative, hard-working, and have distinguished themselves by building lasting corporate entrepreneurial legacies in polygamous family firms. The findings also demonstrate that polygamy encourages women to be independent towards corporate ventures, which inspires their entrepreneurial sustainability and capabilities in polygamous family firms. Finally, as evidenced by this study, women are entrepreneurial in the Schumpeterian sense, which encourages gender parity, increases their entrepreneurial participation, influences their sense of identity, and builds entrepreneurial orientation in polygamous family firms. This study provides theoretical and practical implications, a future research agenda, and recommendations to encourage more studies of women‚Äôs entrepreneurship in polygamous family firms

    A neuropsychological profile of post Covid-19 syndrome: chapter one, post-Covid-19 syndrome and goal-directed behaviour: a systematic review of standardized neuropsychological test outcomes; chapter two, Exploration of the outcomes and experiences of previously hospitalised patients with post Covid-19 syndrome: a mixed methods approach

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    PURPOSE: Chapter one sought to determine whether there is evidence of impairments across the cognitive domains necessary for goal directed behaviour among individuals with post covid- 19 syndrome (PCS) and the extent to which individual/ clinical variables were associated with such deficits. Impairments in these areas may underlie prevailing economic decline in this population. Chapter two sought to examine patients who were presenting with cognitive complaints to increase understanding of the neuropsychological profile of these individuals through their self-reported experiences, their objective cognitive assessments and the relationship between these two assessment areas. METHOD: In Chapter one, a systematic search strategy was deployed across the following databases: PubMed/MEDLINE, Embase, AMED, PsychINFO, NeuroBITE, Google Scholar and ProQuest Dissertations & Theses. Methodological quality was assessed using the Newcastle- Ottawa Scale adapted for prospective cohort and cross-sectional studies. Chapter two applied thematic analysis to the subjective experiences of 21 PCS patients experiencing ongoing difficulties, alongside their objective cognitive function. Subjective and objective complaints were subsequently compared via correlational analyses. RESULTS: Chapter one: Of 5998 articles, 19 studies were included; on average, cross-sectional studies were rated as ‚Äėmoderate‚Äô and cohort as ‚Äėhigh‚Äô quality. Impairments were observed across memory, attention and executive function. Individual and clinical differences impacted cognitive impairment variably; depression, anxiety and fatigue negatively so. Chapter two: Thematic analysis identified four main themes related to the types of difficulties experienced; ‚Äėfunctional consequences‚Äô, ‚Äėcognitive changes‚Äô, ‚Äėnew-onset mental-health difficulties‚Äô and ‚Äėfrequency of impact‚Äô. No significant differences were identified between the overall sample mean and the normative mean across cognitive domains assessed. However, a pattern of impaired individual test scores was observed across tests where PCS patients presented with primary attentional impairments with an executive component. Significant relationships were observed between subjective complaints of memory and objective cognitive assessments. CONCLUSIONS: The findings of both chapters highlight the ongoing neuropsychological impact of PCS on patients‚Äô daily lives, up to two years‚Äô post infection. Further research with larger sample sizes and matched controls would support the identification of the cognitive impacts attributable to disease pathology, psychological, clinical variables and their relative contribution

    Offene-Welt-Strukturen: Architektur, Stadt- und Naturlandschaft im Computerspiel

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    Welche Rolle spielen Algorithmen f√ľr den Bildbau und die Darstellung von Welt und Wetter in Computerspielen? Wie beeinflusst die Gestaltung der R√§ume, Level und Topografien die Entscheidungen und das Verhalten der Spieler_innen? Ist der Brutalismus der erste genuine Architekturstil der Computerspiele? Welche Bedeutung haben Landschaftsg√§rten und Nationalparks im Strukturieren von Spielwelten? Wie wird Natur in Zeiten des Klimawandels dargestellt? Insbesondere in den letzten 20 Jahren adaptieren digitale Spielwelten akribischer denn je Merkmale der physisch-realen Welt. Durch aufw√§ndige Produktionsverfahren und komplexe Visualisierungsstrategien wird die Angleichung an unsere √ľbrige Alltagswelt stets in Abh√§ngigkeit von Spielmechanik und Weltlichkeit erzeugt. Wie sich sp√§testens am Beispiel der Open-World-Spiele zeigt, f√ľhrt die √úbernahme bestimmter Weltbilder und Bildtraditionen zu ideologischen Implikationen, die weit √ľber die bisher im Fokus der Forschung stehenden, aus anderen Medienformaten transferierten Erz√§hlkonventionen hinausgehen. Mit seiner Theorie der Architektur als medialem Scharnier legt der Autor offen, dass digitale Spielwelten medienspezifische Eigenschaften aufweisen, die bisher nicht zu greifen waren und der Erforschung harrten. Durch Verschr√§nken von Konzepten aus u.a. Medienwissenschaft, Game Studies, Philosophie, Architekturtheorie, Humangeografie, Landschaftstheorie und Kunstgeschichte erarbeitet Bonner ein transdisziplin√§res Theoriemodell und erm√∂glicht anhand der daraus entwickelten analytischen Methoden erstmals, die komplexe Struktur heutiger Computerspiele - vom Indie Game bis zur AAA Open World - zu verstehen und zu benennen. Mit "Offene-Welt-Strukturen" wird die Architektonik digitaler Spielwelten umfassend zug√§nglich

    The American Indian Agent, 1791-1861 Questioning the Literary and Cinematic Stereotype as well as Historical Narratives to find the real Indian Agent

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    The American Indian Agent is a known figure in the national drama. Originally defined by nineteenth century political opponents, settlers, frontier business interests, the American military, Indian policy reformers and even Indians, the Indian agent ranges from inept to cupidinous; cruel to inhuman. Western fiction writers, screenwriters and episodic television dramatists of the twentieth century took the agent‚Äôs tarnished reputation and created a stereotype stock character for Westerns emphasising all his malevolent attributes. The historical profession has largely perpetuated the cultural and literary perception of the Indian agent, until some historians began to identify individualized exceptions to agent perfidy. As examples of benevolent agents grew, the profession revised its analysis allowing that some agents assisted Indians while most remained obdurately delinquent.Most historical research on Indian agents has focused on the period from 1861‚Äď1888, the Civil War to the end of the Apache Wars. Large swaths of history remain lightly explored as the Indian agent existed from 1791‚Äď1908. This thesis examines the Indian agent in the early years of the Republic, from 1791‚Äď1861, interacting with Indians from New York to Puget Sound, from Georgia to New Mexico and the vast Great Plains in between. Crucially this thesis places the agent in the world of the Indian agency as well as the competing worlds of politics, business, religion, settlement, and government administration of which he was also a part.The results are surprising. Although there were a few criminals and several men overwhelmed by conditions, most agents of Jeffersonian, Jacksonian, and Antebellum America were honest, sincere public servants, many coming to favor the Indians and spending their own money, and in a few cases, their blood to aid Indian development and freedom.This conclusion runs counter to both popular and historical perceptions. It seems almost everyone has adopted the old Aristotelian idea of petitio principii or ‚Äúbegging the question‚ÄĚ. The bad and inept Indian agent must be bad and inept. No longer. These are the real Indian agents of 1791‚Äď1861

    Worshipping at the Shrine of Wagner: Fandom, Media and Richard Wagner

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    Nineteenth-century opera composer Richard Wagner has long inspired passionate responses, with contemporary commentators often noting the cult-like reverence with which lovers approached his operas. In the years since, however, interest in Wagner‚Äôs art has not disappeared. In this dissertation, I explore the contours of modern Wagnerism using as my primary case study the Toronto Wagner Society, asking how members incorporate opera into their lives and what Wagner means to them. To do this, I employ a multimethodology of ethnography, an examination of Wagner‚Äôs art and rhetoric, and a consideration of the materiality of opera. These findings are analyzed through a dual lens of fan studies and cultural techniques, with which this dissertation makes two principal moves: first, to highlight how fandom of high culture is different in nature, not in kind to fandom of popular culture; second, to propose a networked model of fandom, one which conceptualizes fandom as a dynamic assemblage of audience, media and text. Chapter 1 opens by asking what is a fan, which I resolve through the introduction of cultural techniques, and subsequently, my networked model of fandom. I also consider how cultural techniques research might expand to include ethnography. Chapter 2 lays out the main findings of my interview. Particularly, I examine how aging intersects with reception, how fans re-enact the distinction between German and Italian opera, and the joy of opera as an explicitly performance art. Chapter 3 tackles the dual description of Wagner as both ‚Äúwork‚ÄĚ and ‚Äúoverwhelming.‚ÄĚ By taking seriously Theodor Adorno‚Äôs criticism, I illustrate how his music and rhetoric exert their agency onto fans. The final chapter studies the materiality of reception. Employing the metaphor of Michel Serres‚Äô parasite, I analyze how the media which host opera shape reception through an examination of the role of the theatre, and by tracking mentions of Wagner in Toronto‚Äôs Globe newspaper in the years 1875‚Äď1876

    2023 Rebel Football Guide

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    Weaving (in) the uncertainty. Textile as a material process and spatial interface

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    PRESENTACI√ďN: Tesis de tipo te√≥rico-pr√°ctica, de car√°cter transdisciplinar, que parte del propio trabajo art√≠stico, relativo a escultura e instalaci√≥n textil. Por tanto se parte de un hecho art√≠stico y de un inter√©s en seguir evolucionando dicho trabajo, donde la investigaci√≥n te√≥rica pueda alimentar la pr√°ctica art√≠stica y viceversa y donde la experiencia del arte es fundamento y contexto. El tema bajo el que exponemos dicha tesis se centra en las relaciones entre cuerpo y espacio a trav√©s del textil como proceos material e interfaz espacial. PALABRAS CLAVE: cuerpo, espacio, textil, interfaz, materialidad, complejidad. HIP√ďTESIS: La hip√≥tesis que planteamos entiende que el textil es reflejo de una estructura de pensamiento que sucede a trav√©s de una relaci√≥n material entre cuerpo y espacio, donde el tejido se sit√ļa como interfaz. OBJETIVOS: La elaboraci√≥n de esta tesis pretende responder la algunas cuestiones y llegar a unos objetivos claros, como son: -Repensar los textiles como procesos emergentes e inmanentes, investigando las posibilidades de reconceptualizaci√≥n del tejido como sistema interrelacional complejo y como modo de pensamiento material. -Investigar la l√≥gica interrelacional que encierran los textiles a trav√©s del modelo tecnol√≥gico textil propuesto por Deleuze y Guattari, donde lo liso y lo estriado se entrecruzan entre s√≠. -Constatar c√≥mo los modos textiles se encuentran en relaci√≥n con el contexto en el que se dan, pudiendo entender, a trav√©s de ellos, no s√≥lo las transformaciones sociales y culturales, sino nuestra propia relaci√≥n con el mundo. En este sentido, intentaremos comprobar que los textiles se sit√ļan como mediadores interrelacionales que posibilitan la construcci√≥n de nuestra realidad. -Reflexionar sobre la relaci√≥n cuerpo-espacio a trav√©s de la materialidad textil, sobrepasando la cultura de la imagen en favor de una dimensi√≥n m√°s sensorial y h√°ptica, repensando el lugar que ocupa la materialidad en el arte contempor√°neo a trav√©s de los modos textiles. -Entender c√≥mo nuestra concepci√≥n del espacio-tiempo se ha ido transformando a lo largo del S.XX y XXI, sobre todo a ra√≠z de la introducci√≥n de las nuevas tecnolog√≠as, las cuales est√°n condicionando nuestra relaci√≥n con el presente y con el futuro. -Detallar y examinar las relaciones entre textiles y tecnolog√≠a digital, investigando adem√°s c√≥mo el arte ha trabajado en torno a esta relaci√≥n desde los a√Īos sesenta hasta la actualidad. -Identificar y analizar la posici√≥n de los textiles como medio y material en la exploraci√≥n de las pr√°cticas art√≠sticas contempor√°neas, y de manera especf√≠ca a trav√©s de la instalaci√≥n textil. -Comprobar el grado de hapticidad que se da en el arte contempor√°neo a trav√©s de los espacios textiles, analizando a qu√© responde esta sensibilidad emergente vinculada a la experiencia inmersiva del sujeto en plena era tecnodigital. -Explorar las relaciones que se dan entre tejido, arquitectura e instalaci√≥n para entender, c√≥mo a trav√©s de la relaci√≥n entre cuerpo y espacio generamos un sistema de envolventes espaciales que se interrelacionan entre s√≠, donde el tejido se sit√ļa como interfaz.PRESENTACI√ďN: Tese de tipo te√≥rico-pr√°ctica, de car√°cter transdisciplinar, que parte do propio traballo art√≠stico, relativo a escultura e instalaci√≥n textil. Por tanto se parte dun feito art√≠stico e dun interese en seguir evolucionando devandito traballo, onde a investigaci√≥n te√≥rica poida alimentar √° pr√°ctica art√≠stica e viceversa, onde a experiencia da arte √© fundamento e contexto. O tema baixo o que expomos dita tese c√©ntrase nas relaci√≥ns entre corpo e espazo a trav√©s do t√©xtil como proceso material e interfaz espacial. PALABRAS CRAVE: corpo, espazo, t√©xtil, interfaz, materialidade, complexidade. HIP√ďTESE: A presente tese plantexa a hip√≥tese de que o t√©xtil √© reflexo dunha estructura de pensamento que sucede a trav√©s dunha relaci√≥n material entre corpo e espazo, onde o tecido sit√ļase como interfaz. OBXECTIVOS: -Repensar os t√©xtiles como procesos emerxentes e inmanentes, investigando as posibilidades de reconceptualizaci√≥n do tecido como sistema interrelacional complexo e como modo de pensamento material. -Investigar a l√≥xica interrelacional que encerran os t√©xtiles a trav√©s do modelo tecnol√≥xico t√©xtil proposto por Deleuze e Guattari, onde o liso e o estriado entrecr√ļzanse entre si. -Constatar como os modos t√©xtiles at√≥panse en relaci√≥n co contexto no que se dan, podendo entender, a trav√©s deles, non s√≥ as transformaci√≥ns sociais e culturais, sen√≥n nosa propia relaci√≥n co mundo. Neste sentido, tentaremos de comprobar que os t√©xtiles se sit√ļan como mediadores interrelacionales que posibilitan a construci√≥n da nosa realidade. -Reflexionar sobre a relaci√≥n corpo-espazo a trav√©s da materialidade t√©xtil, excedendo a cultura da imaxe en favor dunha dimensi√≥n m√°is sensorial e t√°ctil, repensando o lugar que ocupa a materialidade na arte contempor√°nea a trav√©s dos modos t√©xtiles. -Entender como a nosa concepci√≥n do espazo-tempo foise transformando ao longo do S.XX e XXI, sobre todo por mor da introduci√≥n das novas tecnolox√≠as, as cales est√°n a condicionar a nosa relaci√≥n co presente e co futuro. -Detallar e examinar as relaci√≥ns entre t√©xtiles e tecnolox√≠a dixital, investigando ademais como a arte traballou ao redor desta relaci√≥n desde os anos sesenta ata a actualidade. -Identificar e analizar a posici√≥n dos t√©xtiles como medio e material na exploraci√≥n das pr√°cticas art√≠sticas contempor√°neas, e de maneira especf√≠ca a trav√©s da instalaci√≥n t√©xtil. -Comprobar o grao de hapticidade que se d√° na arte contempor√°nea a trav√©s dos espazos t√©xtiles, analizando a que responde esta sensibilidade emerxente vinculada √° experiencia inmersiva do suxeito en plena era tecnodigital. -Explorar as relaci√≥ns que se dan entre tecido, arquitectura e instalaci√≥n para entender, como a trav√©s da relaci√≥n entre corpo e espazo xeramos un sistema de envolventes espaciais que se interrelacionan entre si, onde o tecido sit√ļase como interface.PRESENTATION: Theoretical-practical thesis of a transdisciplinary nature, which is based on the artistic work itself, related to sculpture and textile installation. It is therefore derived from an artistic fact and from an interest in continuing to evolve this work, where theoretical research can feed artistic practice and vice versa, and where the experience of art is the foundation and context. The theme under which we present this thesis focuses on the relationship between body and space through the textile as a material process and spatial interface. KEYWORDS: body, space, textile, interface, materiality, complexity. HYPOTHESIS: The hypothesis we propose posits that the textile is a reflection of a structure of thought that happens through a material relationship between body and space, where the textile is situated as an interface. OBJECTIVES: The elaboration of this thesis aims to answer some questions and reach some clear objectives, such as: -To rethink textiles as emergent and immanent processes, investigating the possibilities of reconceptualising weaving as a complex interrelational system and as a mode of material thought. -To investigate the interrelational logic of textiles through the technological textile model proposed by Deleuze and Guattari, where the smooth and the striated intertwine with each other. -We will try to see how textile modes are related to the context in which they occur, and through them we will be able to understand not only social and cultural transformations, but also our own relationship with the world. In this sense, we will try to prove that textiles are situated as interrelational mediators that make the construction of our reality possible. -To reflect on the body-space relationship through textile materiality, going beyond image culture in favour of a more sensorial and haptic dimension, rethinking the place of materiality in contemporary art through textile modes. -To understand how our conception of space-time has been transformed throughout the 20th and 21st centuries, especially as a result of the introduction of new technologies, which are conditioning our relationship with the present and the future. -To detail and examine the relationship between textiles and digital technology, also investigating how art has worked around this relationship from the 1960s to the present day. -Identify and analyse the position of textiles as a medium and material in the exploration of contemporary art practices, and specifically through textile installation. -To verify the degree of hapticity that occurs in contemporary art through textile spaces, analysing what this emerging sensibility linked to the immersive experience of the subject in the midst of the technodigital era responds to. -To explore the relationships between fabric, architecture and installation in order to understand how, through the relationship between body and space, we generate a system of spatial envelopes that interrelate with each other, where the fabric is situated as an interface
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