9,857 research outputs found

    Beefeaters, British History and the Empire in Asia and Australasia since 1826

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    The Yeoman Warders at the Tower of London (colloquially known as ‘Beefeaters’) have been represented as a quintessential part of British history. Their distinctive Tudor costumes and their highly visible role at the Tower made them iconic symbols of Britishness. One would think that the Beefeater could only be seen in London yet the iconography of the Beefeater was widespread across the British Empire, including India, Hong Kong, Malaya, Australia and New Zealand. This essay explores the transmission of a symbol of Britishness, arguing that while the Beefeater was a global icon, it resonated most with those who desired a direct connection to Anglo-British history. The reception and consumption of the Beefeater differed substantially. In Australia and New Zealand, the Beefeater allowed ‘distant Britons’ to celebrate a nostalgic history shared with the old country, while elsewhere in the Empire and Commonwealth, the Beefeater was too historically obscure to hold resonance and often symbolised the commercialism associated with marketing alcohol. This essay explores the changing representations and meaning of the Beefeaters as an icon of Britishness across the rise and fall of the British Empire

    Propagation of social representations

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    Based on a minimal formalism of social representations as a set of associated cognems, a simple model of propagation of representations is presented. Assuming that subjects share the constitutive cognems, the model proposes that mere focused attention on the set of cognems in the field of common conscience may replicate the pattern of representation from context into subjects, or, from subject to subject, through actualization by language, where cognems are represented by verbal signs. Limits of the model are discussed, and evolutionist perspectives are presented with the support of field data

    The Qualitative Image

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    Why the Dutch (Think They) Break Taboos:Challenging Contemporary Presentations of the Role of Religious Actors in Narratives of Sexual Liberation

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    In contemporary approaches to sexual health in the Netherlands, religion and culture are often framed as a source of taboos that need to be broken in order to create more openness around sexuality. This view is often projected onto migrants with a religious background and onto other parts of the world that are ‘still’ religious. In this article, we suggest that one element to developing a more inclusive approach is to question existing narratives of ‘sexularism’ and to acknowledge that both religious and secular actors have historically been involved in the search for better ways of approaching sexual health and sexuality in the Netherlands. In contemporary characterizations of Dutch culture, the sexual revolution is referenced as a time in Dutch history when religious small-mindedness around sexuality was dismantled through a series of transgressive media events. Iconic moments in the sexual revolution have become ingrained in a collective memory of the 1960s as liberation from the firm grip of religion on peoples’ intimate lives. In this article we argue that the contemporary Dutch equation of secularization with openness around sexuality obscures a more complex dynamic between conservative and progressive forces within Dutch religious history. Based on existing research, we show that openness around sexuality was taking shape from within Catholic and Protestant communities and being materialized in new discourses, services and practices around sexuality in the 1950s and 1960s. Frictions between Protestants and Catholics, the clergy and the people, and liberal and conservative circles were part and parcel of some of the iconic moments that are now considered to have shaped Dutch culture

    We speak with our hands and voices": Iconicity in the Adamorobe Sign Language and the Akuapem Twi (Ideophones)

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    Abstract This research drew on the linguistic concept of iconicity and with a period of three months, five deaf signers of the Adamorobe community and some unspecified Akuapem Twi (Akan) speakers were studied and interviewed. The Adamorobe Sign Language examples categorised for retrieval are size and shape, time expression, verbal directionality and emotive and cognitive function. The ideophones of Akuapem Twi examples given in this thesis, based on the implicational hierarchy are sound, touch, movement, smell, vision and size and shape. This thesis showed out that iconicity is highly exhibited in the Adamorobe Sign Language and the ideophones of Akuapem Twi. There are levels of iconicity demonstrated in each. The research used an iconic scale of 1-5 to check the levels of iconicity; 5-4 representing the highest iconicity and 1 representing the lowest iconicity. This scale was personally developed to aid in categorising the levels of iconicity and it was identified that some of the iconic element are higher in iconicity while others are low. The AdaSL and the ideophones of Akuapem Twi have Highly Iconic Structures that have strong iconic resemblance of the form. There is an image-form-meaning-mapping relationship between the iconic elements. The signs were found to mirror what the signer is presenting; i.e. pictorial representations (visual iconicity in the sign language) and the sounds of the ideophones produced vocal iconicity through the sound symbolisms. The image-form-meaning-mapping relationship between the icons of the AdaSL and the depicted image or concept creates an iconic relationship between the expression, the object and the meaning. Finally, the sign language in Adamorobe was also seen to demonstrate traces of influence from the Akuapem Twi through the mouthings and compound signs.Sammendrag Denne forskningen fokuserte pÄ det sprÄklige begrepet ikonisitet. Over en periode pÄ tre mÄneder ble fem dÞve tegnsprÄksbrukere i Adamorobe samfunnet og noen uspesifiserte Akuapem Twi (Akan) talesprÄksbrukere studert og intervjuet. De kategoriserte tegnsprÄk eksemplene som skulle studeres var stÞrrelse og form, tid uttrykk, verbal direksjonalitet og emotive og kognitiv funksjon. De ideofonene fra Akuapem Twi eksemplene som er representert i denne avhandlingen, bygger pÄ implikasjonshierarkiet og er fÞlgene: lyd, berÞring, bevegelse, lukt, syn og stÞrrelse og form. Denne avhandlingen viste at ikonisitet er svÊrt utbredt bÄde i Adamorobe tegnsprÄk og i ideofonene i Akuapem Twi og det er nivÄer av ikonisitet demonstrert i hver av dem. Forskningen brukte en ikonisk skala fra 1-5 for Ä sjekke nivÄene av ikonisitet; 5-4 representerer det hÞyeste ikonisitetsnivÄet og 1 representerer det laveste ikonisitetsnivÄet. Denne skalaen er personlig utviklet for Ä hjelpe til med Ä kategorisere ikonisitetsnivÄene, og det ble funnet ulike nivÄer av ikonisitet. AdaSL og ideofonene i Akuapem Twi har sterkt ikoniske strukturer som har sterk ikonisk likhet med skjemaet. Det er bilde-form-betydning-mapping mellom de ikoniske elementene. Det ble konstatert at tegnene gjenspeilte det som skulle representeres; dvs. billedlige fremstillinger (visuell ikonisitet i tegnsprÄk) og lyden av ideofoner produserte lydligikonisiter gjennom lydsymbolikk. Denne mappingrelasjonen mellom ikonene og det avbildede eller begrepet etablerer en ikonisk relasjon mellom uttrykket, gjenstanden og betydningen. Oppgaven viser ogsÄ spor av pÄvirkning fra Akuapem Twi pÄ tegnsprÄket ved bruk av munn og sammensatte tegn.Master i Allmenn lingvistikkMAHF-LINGLING35

    Ireland's America: a case study of Sheridan's In America (2002) and Get Rich or Die Tryin (2005)

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    Jim Sheridan is one of the fathers of Irish national cinema with Oscar-winning films including My Left Foot (1990) and powerful nation building narratives like The Field (1990) and In the Name of the Father (1993). His recent work has tried to become more internationally appealing with an evocative study of Irish emigrants in America and most controversially his recent biopic of the internationally known black rapper, 50 cent. By examining In America and Get Rich or Die Tryin this article will assess how Sheridan adapts his Irish preoccupations while trying to take on Hollywood. More than any other Irish director, Sheridan uses family, race, otherness, and Americana, in general, to dramatise Ireland’s affinity with America

    Digital Image Access & Retrieval

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    The 33th Annual Clinic on Library Applications of Data Processing, held at the University of Illinois at Urbana-Champaign in March of 1996, addressed the theme of "Digital Image Access & Retrieval." The papers from this conference cover a wide range of topics concerning digital imaging technology for visual resource collections. Papers covered three general areas: (1) systems, planning, and implementation; (2) automatic and semi-automatic indexing; and (3) preservation with the bulk of the conference focusing on indexing and retrieval.published or submitted for publicatio
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