8,774 research outputs found

    Tourism and heritage in the Chornobyl Exclusion Zone

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    Tourism and Heritage in the Chornobyl Exclusion Zone (CEZ) uses an ethnographic lens to explore the dissonances associated with the commodification of Chornobyl's heritage. The book considers the role of the guides as experience brokers, focusing on the synergy between tourists and guides in the performance of heritage interpretation. Banaszkiewicz proposes to perceive tour guides as important actors in the bottom-up construction of heritage discourse contributing to more inclusive and participatory approach to heritage management. Demonstrating that the CEZ has been going through a dynamic transformation into a mass tourism attraction, the book offers a critical reflection on heritagisation as a meaning-making process in which the resources of the past are interpreted, negotiated, and recognised as a valuable legacy. Applying the concepts of dissonant heritage to describe the heterogeneous character of the CEZ, the book broadens the interpretative scope of dark tourism which takes on a new dimension in the context of the war in Ukraine. Tourism and Heritage in the Chornobyl Exclusion Zone argues that post-disaster sites such as Chornobyl can teach us a great deal about the importance of preserving cultural and natural heritage for future generations. The book will be of interest to academics and students who are engaged in the study of heritage, tourism, memory, disasters and Eastern Europe

    Examples of works to practice staccato technique in clarinet instrument

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    Klarnetin staccato tekniğini güçlendirme aşamaları eser çalışmalarıyla uygulanmıştır. Staccato geçişlerini hızlandıracak ritim ve nüans çalışmalarına yer verilmiştir. Çalışmanın en önemli amacı sadece staccato çalışması değil parmak-dilin eş zamanlı uyumunun hassasiyeti üzerinde de durulmasıdır. Staccato çalışmalarını daha verimli hale getirmek için eser çalışmasının içinde etüt çalışmasına da yer verilmiştir. Çalışmaların üzerinde titizlikle durulması staccato çalışmasının ilham verici etkisi ile müzikal kimliğe yeni bir boyut kazandırmıştır. Sekiz özgün eser çalışmasının her aşaması anlatılmıştır. Her aşamanın bir sonraki performans ve tekniği güçlendirmesi esas alınmıştır. Bu çalışmada staccato tekniğinin hangi alanlarda kullanıldığı, nasıl sonuçlar elde edildiği bilgisine yer verilmiştir. Notaların parmak ve dil uyumu ile nasıl şekilleneceği ve nasıl bir çalışma disiplini içinde gerçekleşeceği planlanmıştır. Kamış-nota-diyafram-parmak-dil-nüans ve disiplin kavramlarının staccato tekniğinde ayrılmaz bir bütün olduğu saptanmıştır. Araştırmada literatür taraması yapılarak staccato ile ilgili çalışmalar taranmıştır. Tarama sonucunda klarnet tekniğin de kullanılan staccato eser çalışmasının az olduğu tespit edilmiştir. Metot taramasında da etüt çalışmasının daha çok olduğu saptanmıştır. Böylelikle klarnetin staccato tekniğini hızlandırma ve güçlendirme çalışmaları sunulmuştur. Staccato etüt çalışmaları yapılırken, araya eser çalışmasının girmesi beyni rahatlattığı ve istekliliği daha arttırdığı gözlemlenmiştir. Staccato çalışmasını yaparken doğru bir kamış seçimi üzerinde de durulmuştur. Staccato tekniğini doğru çalışmak için doğru bir kamışın dil hızını arttırdığı saptanmıştır. Doğru bir kamış seçimi kamıştan rahat ses çıkmasına bağlıdır. Kamış, dil atma gücünü vermiyorsa daha doğru bir kamış seçiminin yapılması gerekliliği vurgulanmıştır. Staccato çalışmalarında baştan sona bir eseri yorumlamak zor olabilir. Bu açıdan çalışma, verilen müzikal nüanslara uymanın, dil atış performansını rahatlattığını ortaya koymuştur. Gelecek nesillere edinilen bilgi ve birikimlerin aktarılması ve geliştirici olması teşvik edilmiştir. Çıkacak eserlerin nasıl çözüleceği, staccato tekniğinin nasıl üstesinden gelinebileceği anlatılmıştır. Staccato tekniğinin daha kısa sürede çözüme kavuşturulması amaç edinilmiştir. Parmakların yerlerini öğrettiğimiz kadar belleğimize de çalışmaların kaydedilmesi önemlidir. Gösterilen azmin ve sabrın sonucu olarak ortaya çıkan yapıt başarıyı daha da yukarı seviyelere çıkaracaktır

    Interview with Wolfgang Knauss

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    An oral history in four sessions (September 2019–January 2020) with Wolfgang Knauss, von Kármán Professor of Aeronautics and Applied Mechanics, Emeritus. Born in Germany in 1933, he speaks about his early life and experiences under the Nazi regime, his teenage years in Siegen and Heidelberg during the Allied occupation, and his move to Pasadena, California, in 1954 under the sponsorship of a local minister and his family. He enrolled in Caltech as an undergraduate in 1957, commencing a more than half-century affiliation with the Institute and GALCIT (today the Graduate Aerospace Laboratories of Caltech). He recalls the roots of his interest in aeronautics, his PhD solid mechanics studies with his advisor, M. Williams, and the GALCIT environment in the late 1950s and 1960s at the dawn of the Space Age, including the impact of Sputnik and classes with NASA astronauts. He discusses his experimental and theoretical work on materials deformation, dynamic fracture, and crack propagation, including his solid-propellant fuels research for NASA and the US Army, wide-ranging programs with the US Navy, and his pioneering micromechanics investigations and work on the time-dependent fracture of polymers in the 1990s. He offers his perspective on GALCIT’s academic culture, its solid mechanics and fluid mechanics programs, and its evolving administrative directions over the course of five decades, as well as its impact and reputation both within and beyond Caltech. He describes his work with Caltech’s undergraduate admissions committee and his scientific collaborations with numerous graduate students and postdocs and shares his recollections of GALCIT and other Caltech colleagues, including C. Babcock, D. Coles, R.P. Feynman, Y.C. Fung, G. Neugebauer, G. Housner, D. Hudson, H. Liepmann, A. Klein, G. Ravichandran, A. Rosakis, A. Roshko, and E. Sechler. Six appendices contributed by Dr. Knauss, offering further insight into his life and career, also form part of this oral history and are cross-referenced in the main text

    ‘Mental fight’ and ‘seeing & writing’ in Virginia Woolf and William Blake

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    This thesis is the first full-length study to assess the writer and publisher Virginia Woolf’s (1882-1941) responses to the radical Romantic poet-painter, and engraver, William Blake (1757-1827). I trace Woolf’s public and private, overt and subtle references to Blake in fiction, essays, notebooks, diaries, letters and drawings. I have examined volumes in Leonard and Virginia Woolf’s library that are pertinent, directly and indirectly, to Woolf’s understanding of Blake. I focus on Woolf’s key phrases about Blake: ‘Mental fight’, and ‘seeing & writing.’ I consider the other phrases Woolf uses to think about Blake in the context of these two categories. Woolf and Blake are both interested in combining visual and verbal aesthetics (‘seeing & writing’). They are both critical of their respective cultures (‘Mental fight’). Woolf mentions ‘seeing & writing’ in connection to Blake in a 1940 notebook. She engages with Blake’s ‘Mental fight’ in ‘Thoughts on Peace in an Air Raid’ (1940). I map late nineteenth and early twentieth-century opinion on Blake and explore Woolf’s engagement with Blake in these wider contexts. I make use of the circumstantial detail of Woolf’s friendship with the great Blake collector and scholar, Geoffrey Keynes (1887-1982), brother of Bloomsbury economist John Maynard Keynes. Woolf was party to the Blake centenary celebrations courtesy of Geoffrey Keynes’s organisation of the centenary exhibition in London in 1927. Chapter One introduces Woolf’s explicit references to Blake and examines the record of Woolf scholarship that unites Woolf and Blake. To see how her predecessors had responded, Chapter Two examines the nineteenth-century interest in Blake and Woolf’s engagement with key nineteenth-century Blakeans. Chapter Three looks at the modernist, early twentieth-century engagement with Blake, to contextualise Woolf’s position on Blake. Chapter Four assesses how Woolf and Blake use ‘Mental fight’ to oppose warmongering and fascist politics. Chapter Five is about what Woolf and Blake write and think about the country and the city. Chapter Six discusses Woolf’s reading of John Milton (1608-1674) in relation to her interest in Blake, drawing on the evidence of Blake’s intense reading of Milton. Chapter Seven examines further miscellaneous continuities between Woolf and Blake. Chapter Eight proposes, in conclusion, that we can only form an impression of Woolf’s Blake. The thesis also has three appendices. First, a chronology of key publications which chart Blake’s reputation as well as Woolf’s allusions to Blake. Second a list all of Blake’s poetry represented in Woolf’s library including contents page. The third lists all the other volumes in Woolf’s library that proved relevant. Although Woolf’s writing is the subject of this thesis, my project necessitates an attempt to recover how Blake was understood and misunderstood by numerous writers in the early twentieth century. The thesis argues Blake is a model radical Romantic who combines the visual and the verbal and that Woolf sees him as a kindred artist

    Post-Millennial Queer Sensibility: Collaborative Authorship as Disidentification in Queer Intertextual Commodities

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    This dissertation is examining LGBTQ+ audiences and creatives collaborating in the creation of new media texts like web shows, podcasts, and video games. The study focuses on three main objects or media texts: Carmilla (web series), Welcome to Night Vale (podcast), and Undertale (video game). These texts are transmedia objects or intertextual commodities. I argue that by using queer gestures of collaborative authorship that reaches out to the audience for canonical contribution create an emerging queer production culture that disidentifies with capitalism even as it negotiates capitalistic structures. The post-millennial queer sensibility is a constellation of aesthetics, self-representation, alternative financing, and interactivity that prioritizes community, trust, and authenticity using new technologies for co-creation. Within my study, there are four key tactics or queer gestures being explored: remediation, radical ambiguity and multi-forms as queer aesthetics, audience self-representation, alternative financing like micropatronage & licensed fan-made merchandise, and interactivity as performance. The goal of this project is to better understand the changing conceptions of authorship/ownership, canon/fanon (official text/fan created extensions), and community/capitalism in queer subcultures as an indicator of the potential change in more mainstream cultural attitudes. The project takes into consideration a variety of intersecting identities including gender, race, class, and of course sexual orientation in its analysis. By examining the legal discourse around collaborative authorship, the real-life production practices, and audience-creator interactions and attitudes, this study provides insight into how media creatives work with audiences to co-create self-representative media, the motivations, and rewards for creative, audiences, and owners. This study aims to contribute towards a fuller understanding of queer production cultures and audience reception of these media texts, of which there is relatively little academic information. Specifically, the study mines for insights into the changing attitudes towards authorship, ownership, and collaboration within queer indie media projects, especially as these objects are relying on the self-representation of both audiences and creatives in the formation of the text

    The Adirondack Chronology

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    The Adirondack Chronology is intended to be a useful resource for researchers and others interested in the Adirondacks and Adirondack history.https://digitalworks.union.edu/arlpublications/1000/thumbnail.jp

    How to Be a God

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    When it comes to questions concerning the nature of Reality, Philosophers and Theologians have the answers. Philosophers have the answers that can’t be proven right. Theologians have the answers that can’t be proven wrong. Today’s designers of Massively-Multiplayer Online Role-Playing Games create realities for a living. They can’t spend centuries mulling over the issues: they have to face them head-on. Their practical experiences can indicate which theoretical proposals actually work in practice. That’s today’s designers. Tomorrow’s will have a whole new set of questions to answer. The designers of virtual worlds are the literal gods of those realities. Suppose Artificial Intelligence comes through and allows us to create non-player characters as smart as us. What are our responsibilities as gods? How should we, as gods, conduct ourselves? How should we be gods

    Management Matters : Organizational Storytelling within the Anthroposophical Society in Sweden

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    The Anthroposophical Society, founded by the Austrian polymath Rudolf Steiner, came to Sweden in 1913, but for the generation of present-day Swedish Anthroposophists whose voices are heard in this study, the great flowering of the movement occurred in the second half of the twentieth century. The movement had by then expanded into a large milieu with many largely independent enterprises and institutions, from the formal organization itself, to various schools, farms, shops, medical facilities, etc., all based on interpretations of Steiner’s legacy. Since then, many members of the movement feel, there has been a decline. A movement of this size and complexity can be seen as a large organization with a corporate-like structure. Taking its point of departure in ideas from the vast field of organization studies, and specifically in the study of storytelling as part of the creation of a corporate culture where many voices and many perspectives co-exist, this study investigates how Anthroposophists in Sweden, both rank and-file members and some who served in leadership positions, tell the story of the putative Golden Age, decline, and projected future of Anthroposophy in Sweden. Twenty-eight interviews were collected, recurrent themes identified, and the plots of the various individual stories analyzed by means of a version of the actantial model developed by the semioticist Algirdas Greimas. The basic storyline, of which the interviewees’ individual stories constitute variations, is that the Golden Age, when charismatic leaders could draw crowds of enthusiastic young people and a vibrant Anthroposophical milieu was built up, came to an end with the demise of those leaders. The present, i.e., the time at which the interviews were conducted, is narratively framed as a period of sharp decline. The vistas for the future come across in most stories as quite bleak. An actantial analysis reveals that the past, an epoch that is on one hand held up as a shining example is on the other hand also described as a time characterized by innumerable problems and conflicts. Disagreement is rampant regarding the reasons for the current decline, and a vast number of problems are identified in the individual narratives. The future is for some interviewees impossible to speculate about, whereas others have specific suggestions for change. These suggestions, when held up against each other, show that there is no unified vision of what the necessary changes might be or who must bring them about. The interviewees agree that Anthroposophy plays a vital role as a spiritual path. When asked how they would describe Anthroposophy and what it more specifically can offer, answers diverge, but substantive descriptions of core concepts or practices are rarely alluded to. Rather, their explanations of what Anthroposophy is are in almost all cases metaphorical or negative, i.e., they represent Anthroposophy as elusive or undefinable. Interviewees can suggest that the lack of a clear Anthroposophical “brand” is a major reason for its current perceived crisis. An analysis of the ways in which Rudolf Steiner is portrayed in the interview material shows that there are a variety of descriptions of him rather than a unified representation of a charismatic leader that members can rally around. This, the study suggests, is because four different forms of charisma can be distinguished on theoretical grounds, and the particular form that permeates the narratives collected for this study does not readily support the dissemination of a centralized, dominant narrative.Antroposofiska Sällskapet, grundat av österrikaren Rudolf Steiner, kom till Sverige redan i 1913, men för den generation av nutida svenska antroposofer vars röster hörs i denna studie inträffade rörelsens stora blomstringstid först under nittonhundratalets andra hälft. Vid det laget hade rörelsen expanderat och blivit till en omfattande miljö med många stort sett oberoende institutioner och verksamheter, från själva det Antroposofiska Sällskapet i strikt mening till olika skolor, lantbruk, butiker, kliniker, osv., som alla byggde på tolkningar av arvet efter Steiner. Många medlemmar i rörelsen menar att det sedan dess har skett en nedgång. En rörelse med den storlek och komplexitet som det rör sig om i det aktuella fallet kan betraktas som en organisation med en företagsliknande struktur. Denna studie tar därför sin utgångspunkt i ett organisationsteoretiskt perspektiv, i synnerhet i den gren av organisationsteorin som studerar berättande som ett led i hur en organisationskultur med många samexisterande röster skapas. I det aktuella fallet handlar det om berättelser som antroposofer i Sverige, både vanliga medlemmar och personer i ledarställning, framför om den blomstringstid de menar rörelsen en gång hade, den nedgång de säger sig uppleva och den framtid de föreställer sig att antroposofin i Sverige kommer att möta. Tjugoåtta intervjuer genomfördes och de berättelser som förmedlas i dessa intervjuer analyserades med hjälp av en variant av den aktantmodell som utvecklats av semiotikern Algirdas Greimas. Den grundläggande handling man återfinner i intervjupersonernas olika berättelser är att blomstringstiden var en guldålder då karismatiska ledare kunde samla stora grupper av entusiastiska ungdomar och en levande antroposofisk miljö byggdes upp, men att denna guldålder upphörde när ledarna gick ur tiden. Nuet, alltså den tid då intervjuerna genomfördes, beskrivs i berättelserna som en tid av förfall. Framtidsutsikterna som målas upp i de flesta berättelser är dystra. Aktantanalysen visar att berättelserna om det förflutna både beskriver denna tid i mycket positiva termer och nämner otaliga problem och konflikter. Nuets påstådda förfall återkommer i de flesta berättelser, men åsikterna går vitt isär när det gäller vad nutidens problem är och vad som orsakat dem. Framtiden beskrivs av vissa intervjupersoner som omöjlig att spekulera närmare om, medan andra har specifika förslag till förändringar. Sammantaget visar analysen att det saknas en enhetlig föreställning om vad som behöver göras för att lösa rörelsens problem och vem som ska ta ansvar för dessa förändringar. Intervjupersonerna är eniga om att antroposofin spelar en viktig roll. Frågan hur de skulle beskriva antroposofin och vad den har att erbjuda besvaras på olika sätt, men sällan i termer av konkreta beskrivningar av för antroposofin centrala föreställningar eller praktiker. Tendensen är snarare att svara i metaforiska eller negativa termer, alltså genom att berätta att de menar att antroposofin inte går att definiera. Samtidigt kan intervjupersonerna förklara att bristen på en tydlig antroposofisk identitet är ett huvudskäl till vad de ser som rörelsens nuvarande kris. En analys av de sätt på vilka Rudolf Steiner beskrivs i intervjumaterialet visar att det också finns en rad divergerande uppfattningar av honom snarare än en sammanhållen beskrivning av en karismatisk ledare som medlemmarna kan samlas kring. Studien konkluderar att karisma på teoretiska grunder kan delas in i fyra olika typer, och att den specifika form av karisma som intervjuerna återspeglar inte harmonierar särskilt väl med spridandet av en centralt utformad dominerande berättelse

    How might home practices be impacted by children’s engagement with multimedia environmental education at school?

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    Given the potential of music and artwork to engage people in environmental issues and learners in educational settings, and the lack of research on how primary school children engage with environmental education, this thesis aimed to explore the impact multimedia environmental education had on primary school pupils, their families and the environmental practices they carried out within the home using qualitative methods and social practice theory. Pupil engagement and underlying factors that helped or hindered any process of change were also studied. Observations of lessons and semi-structured interviews were conducted with 21 Key Stage 2 pupils, aged between seven and 12 years old, from four primary schools across Essex, Gloucestershire and Dorset in the UK. Interviews were also conducted with pupils’ families and teachers. Findings showed how pupils engaged with the multimedia environmental education programme in different ways, including actively, passively and not at all, and although pupils experienced some difficulties with the content, the songs and animations were engaged with positively, with pupils enjoying them and remembering their environmental lessons as a result. Different strategies were used by family members when discussing and actioning the environmental education, namely nagging and asking of permission by children, with family members both supporting and resisting requests, such as via ‘counter nags’. Limited impacts were found on practices within the domains of travel, energy and waste management, with numerous underlying factors impacting any process of change. By applying social practice theory to explore how primary school pupils engaged with multimedia environmental education, the impact this education had on families’ environmental practices in the home and underlying factors that impacted any process of change using qualitative methods, this thesis contributed to theory, literature, methodology and environmental education practitioners and policy. Avenues for future research, limitations, and the impact of COVID-19 are discussed

    The Politics of Intermediality: Late Modernist Circulations of the Event

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    This dissertation examines late modernist, intermedial representations of events, considering art as an event and how art depicts and circulates events. Through cross-media close readings and interdisciplinary theories and methods derived from media studies, music and sound studies, intermedial theory, feminist theory, critical race theory, and literary theory, I study multimedia opera, civilian bombardments during the Spanish Civil War, the 1943 Harlem riot, and the atomic bombing of Japan in order to evaluate media practices from a range of cultural and historical contexts. Employing eventalization, my research illuminates intersections of media, gender, race, nation, and sexuality. Some of the artists I engage with include Gertrude Stein, Virgil Thomson, Virginia Woolf, Pablo Picasso, Dora Maar, Langston Hughes, Jacob Lawrence, Ann Petry, Mina Loy, John Hersey, Shda Shinoe, and Nagai Takashi. The four chapters comprising this project take up fluctuating interactions among sonic, verbal, and visual mediations that were produced between 1927 and 1949, juxtaposing various newer media (photojournalism, radio, and others) with works of art (poetry, fiction, and painting). Stein and Thomson's Four Saints in Three Acts, transposed first into a staged opera and then as a radio broadcast, highlights how its many remediations offer formal innovation while reinforcing historical inequities. Picasso and Woolf's collage-like responses to war in Spain demonstrate hypermediacy and immediacy—remediation's twinned impulses—with each artist treating public and private divisions (as materials and as politics) differently. In their depictions of state violence against Black Americans, Hughes, Lawrence, and Petry draw differently on sonic, visual, and verbal modes. Hughes and Petry's fictional rioters publicly express dissatisfaction and challenge the containment strategies used during the actual riot. My concluding chapter also considers how intermediality resists containment, tracing the disparate availability of media in North America and Japan. Simultaneously empty and excessive, these atomic media reveal the ways knowledge and power produce nuclear subjects. My findings reveal that late modernism offers a particularly resonant set of texts and contexts from which to evaluate literature as a medium. Moreover, literature's porous borders enable multiple movements and engagements. The eventalization of these circulations reveal the political stakes and uses of intermediality
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