6,780 research outputs found

    The place where curses are manufactured : four poets of the Vietnam War

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    The Vietnam War was unique among American wars. To pinpoint its uniqueness, it was necessary to look for a non-American voice that would enable me to articulate its distinctiveness and explore the American character as observed by an Asian. Takeshi Kaiko proved to be most helpful. From his novel, Into a Black Sun, I was able to establish a working pair of 'bookends' from which to approach the poetry of Walter McDonald, Bruce Weigl, Basil T. Paquet and Steve Mason. Chapter One is devoted to those seemingly mismatched 'bookends,' Walt Whitman and General William C. Westmoreland, and their respective anthropocentric and technocentric visions of progress and the peculiarly American concept of the "open road" as they manifest themselves in Vietnam. In Chapter, Two, I analyze the war poems of Walter McDonald. As a pilot, writing primarily about flying, his poetry manifests General Westmoreland's technocentric vision of the 'road' as determined by and manifest through technology. Chapter Three focuses on the poems of Bruce Weigl. The poems analyzed portray the literal and metaphorical descent from the technocentric, 'numbed' distance of aerial warfare to the world of ground warfare, and the initiation of a 'fucking new guy,' who discovers the contours of the self's interior through a set of experiences that lead from from aerial insertion into the jungle to the degradation of burning human feces. Chapter Four, devoted to the thirteen poems of Basil T. Paquet, focuses on the continuation of the descent begun in Chapter Two. In his capacity as a medic, Paquet's entire body of poems details his quotidian tasks which entail tending the maimed, the mortally wounded and the dead. The final chapter deals with Steve Mason's JohnnY's Song, and his depiction of the plight of Vietnam veterans back in "The World" who are still trapped inside the interior landscape of their individual "ghettoes" of the soul created by their war-time experiences

    Coloniality and the Courtroom: Understanding Pre-trial Judicial Decision Making in Brazil

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    This thesis focuses on judicial decision making during custody hearings in Rio de Janeiro, Brazil. The impetus for the study is that while national and international protocols mandate the use of pre-trial detention only as a last resort, judges continue to detain people pre-trial in large numbers. Custody hearings were introduced in 2015, but the initiative has not produced the reduction in pre-trial detention that was hoped. This study aims to understand what informs judicial decision making at this stage. The research is approached through a decolonial lens to foreground legacies of colonialism, overlooked in mainstream criminological scholarship. This is an interview-based study, where key court actors (judges, prosecutors, and public defenders) and subject matter specialists were asked about influences on judicial decision making. Interview data is complemented by non-participatory observation of custody hearings. The research responds directly to Aliverti et al.'s (2021) call to ‘decolonize the criminal question’ by exposing and explaining how colonialism informs criminal justice practices. Answering the call in relation to judicial decision making, findings provide evidence that colonial-era assumptions, dynamics, and hierarchies were evident in the practice of custody hearings and continue to inform judges’ decisions, thus demonstrating the coloniality of justice. This study is significant for the new empirical data presented and theoretical innovation is also offered via the introduction of the ‘anticitizen’. The concept builds on Souza’s (2007) ‘subcitizen’ to account for the active pursuit of dangerous Others by judges casting themselves as crime fighters in a modern moral crusade. The findings point to the limited utility of human rights discourse – the normative approach to influencing judicial decision making around pre-trial detention – as a plurality of conceptualisations compete for dominance. This study has important implications for all actors aiming to reduce pre-trial detention in Brazil because unless underpinning colonial logics are addressed, every innovation risks becoming the next lei para inglês ver (law [just] for the English to see)

    Um modelo para suporte automatizado ao reconhecimento, extração, personalização e reconstrução de gráficos estáticos

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    Data charts are widely used in our daily lives, being present in regular media, such as newspapers, magazines, web pages, books, and many others. A well constructed data chart leads to an intuitive understanding of its underlying data and in the same way, when data charts have wrong design choices, a redesign of these representations might be needed. However, in most cases, these charts are shown as a static image, which means that the original data are not usually available. Therefore, automatic methods could be applied to extract the underlying data from the chart images to allow these changes. The task of recognizing charts and extracting data from them is complex, largely due to the variety of chart types and their visual characteristics. Computer Vision techniques for image classification and object detection are widely used for the problem of recognizing charts, but only in images without any disturbance. Other features in real-world images that can make this task difficult are not present in most literature works, like photo distortions, noise, alignment, etc. Two computer vision techniques that can assist this task and have been little explored in this context are perspective detection and correction. These methods transform a distorted and noisy chart in a clear chart, with its type ready for data extraction or other uses. The task of reconstructing data is straightforward, as long the data is available the visualization can be reconstructed, but the scenario of reconstructing it on the same context is complex. Using a Visualization Grammar for this scenario is a key component, as these grammars usually have extensions for interaction, chart layers, and multiple views without requiring extra development effort. This work presents a model for automated support for custom recognition, and reconstruction of charts in images. The model automatically performs the process steps, such as reverse engineering, turning a static chart back into its data table for later reconstruction, while allowing the user to make modifications in case of uncertainties. This work also features a model-based architecture along with prototypes for various use cases. Validation is performed step by step, with methods inspired by the literature. This work features three use cases providing proof of concept and validation of the model. The first use case features usage of chart recognition methods focused on documents in the real-world, the second use case focus on vocalization of charts, using a visualization grammar to reconstruct a chart in audio format, and the third use case presents an Augmented Reality application that recognizes and reconstructs charts in the same context (a piece of paper) overlaying the new chart and interaction widgets. The results showed that with slight changes, chart recognition and reconstruction methods are now ready for real-world charts, when taking time, accuracy and precision into consideration.Os gráficos de dados são amplamente utilizados na nossa vida diária, estando presentes nos meios de comunicação regulares, tais como jornais, revistas, páginas web, livros, e muitos outros. Um gráfico bem construído leva a uma compreensão intuitiva dos seus dados inerentes e da mesma forma, quando os gráficos de dados têm escolhas de conceção erradas, poderá ser necessário um redesenho destas representações. Contudo, na maioria dos casos, estes gráficos são mostrados como uma imagem estática, o que significa que os dados originais não estão normalmente disponíveis. Portanto, poderiam ser aplicados métodos automáticos para extrair os dados inerentes das imagens dos gráficos, a fim de permitir estas alterações. A tarefa de reconhecer os gráficos e extrair dados dos mesmos é complexa, em grande parte devido à variedade de tipos de gráficos e às suas características visuais. As técnicas de Visão Computacional para classificação de imagens e deteção de objetos são amplamente utilizadas para o problema de reconhecimento de gráficos, mas apenas em imagens sem qualquer ruído. Outras características das imagens do mundo real que podem dificultar esta tarefa não estão presentes na maioria das obras literárias, como distorções fotográficas, ruído, alinhamento, etc. Duas técnicas de visão computacional que podem ajudar nesta tarefa e que têm sido pouco exploradas neste contexto são a deteção e correção da perspetiva. Estes métodos transformam um gráfico distorcido e ruidoso em um gráfico limpo, com o seu tipo pronto para extração de dados ou outras utilizações. A tarefa de reconstrução de dados é simples, desde que os dados estejam disponíveis a visualização pode ser reconstruída, mas o cenário de reconstrução no mesmo contexto é complexo. A utilização de uma Gramática de Visualização para este cenário é um componente chave, uma vez que estas gramáticas têm normalmente extensões para interação, camadas de gráficos, e visões múltiplas sem exigir um esforço extra de desenvolvimento. Este trabalho apresenta um modelo de suporte automatizado para o reconhecimento personalizado, e reconstrução de gráficos em imagens estáticas. O modelo executa automaticamente as etapas do processo, tais como engenharia inversa, transformando um gráfico estático novamente na sua tabela de dados para posterior reconstrução, ao mesmo tempo que permite ao utilizador fazer modificações em caso de incertezas. Este trabalho também apresenta uma arquitetura baseada em modelos, juntamente com protótipos para vários casos de utilização. A validação é efetuada passo a passo, com métodos inspirados na literatura. Este trabalho apresenta três casos de uso, fornecendo prova de conceito e validação do modelo. O primeiro caso de uso apresenta a utilização de métodos de reconhecimento de gráficos focando em documentos no mundo real, o segundo caso de uso centra-se na vocalização de gráficos, utilizando uma gramática de visualização para reconstruir um gráfico em formato áudio, e o terceiro caso de uso apresenta uma aplicação de Realidade Aumentada que reconhece e reconstrói gráficos no mesmo contexto (um pedaço de papel) sobrepondo os novos gráficos e widgets de interação. Os resultados mostraram que com pequenas alterações, os métodos de reconhecimento e reconstrução dos gráficos estão agora prontos para os gráficos do mundo real, tendo em consideração o tempo, a acurácia e a precisão.Programa Doutoral em Engenharia Informátic

    Conscience and Consciousness: British Theatre and Human Rights.

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    This research project investigates a paradigm of human rights theatre. Through the lens of performance and theatre-making, this thesis explores how we came to represent, speak about, discuss, and own human rights in Britain. My framework of ‘human rights theatre’ proposes three distinctive features: firstly, such works dramatise real-world issues and highlights the role of the state in endangering its citizens; secondly, ethical ruptures are encountered within and without the drama, and finally, these performances characteristically aspire to produce an activist effect on the collective behaviours of the audience. This thesis interrogates the strategies theatre-makers use to articulate human rights concerns or to animate human rights intent. The selected case-studies for this investigation are ice&fire’s testimonial project, Actors for Human Rights; Badac Theatre; Jonathan Holmes’ work as director of Jericho House; Cardboard Citizens’ youth participation programme, ACT NOW; and Tony Cealy’s Black Men’s Consortium. Deliberately selecting companies and performance events that have received limited critical attention, my methodology constellates case-studies through original interviews, durational observation of creative working methods and proximate descriptions of practice. The thesis is interested in the experience of coming to ‘consciousness’ through human rights theatre, an awakening to the impacts of rights infringements and rights claiming. I explore consciousness as a processual, procedural, and durational happening in these performance events. I explore the ‘æffect’ of activist art and examine the ways in which makers of human rights theatre aim to amplify both affective and effective qualities in their work. My thesis also considers the articulation of activist purpose and the campaigning intent of the selected theatre-makers and explores how their activism is animated in their productions. Through the rich seam of discussion generated by the identification and exploration of the traits of a distinctive human rights theatre, I affirm the generative value of this typological enquiry

    Walking with the Earth: Intercultural Perspectives on Ethics of Ecological Caring

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    It is commonly believed that considering nature different from us, human beings (qua rational, cultural, religious and social actors), is detrimental to our engagement for the preservation of nature. An obvious example is animal rights, a deep concern for all living beings, including non-human living creatures, which is understandable only if we approach nature, without fearing it, as something which should remain outside of our true home. “Walking with the earth” aims at questioning any similar preconceptions in the wide sense, including allegoric-poetic contributions. We invited 14 authors from 4 continents to express all sorts of ways of saying why caring is so important, why togetherness, being-with each others, as a spiritual but also embodied ethics is important in a divided world

    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

    "Alien and Critical": The Modernist Satiric Practices of Djuna Barnes, Wyndham Lewis, and Virginia Woolf

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    This dissertation offers an extended analysis of the modernist satiric practices of authors Djuna Barnes, Wyndham Lewis, and Virginia Woolf in a selection of works spanning different genres published between 1913 and 1954. With these authors works as evidence, I suggest that satire undergoes a significant shift in the first half of the twentieth century as it departs from its premodern roots as a fixed genre or mode, instead becoming a diffuse element that intermittently shapes formal aspects and produces complex critiques. This shift partly results from new formulations of genderfrom altered understandings of masculinity and femininity to the emergence of what we now refer to as queer, nonbinary, and trans identitiesand the way in which what I call the instrumentality of satire enables a range of satiric attacks across different subject positions and a volatile political spectrum. Through a highly comparative approach, I draw upon formalist, feminist, and sociological theories to trace the different networks in which the texts of focus and their authors are embedded (networks of readers, artistic movements, political transformations, marketplaces, and discourses of gender and sexuality) to understand more thoroughly the satire that emerges from these texts. Each chapter pairs discrete investigations of works by each individual author, guided by an overarching topic (Chapter 1 explores networks of satire, Chapter 2 examines satiric method and the novel, and Chapter 3 considers satiric forms of life writing), and ends with a shorter section that compares the three authors works within a specific thematic framework (Chapter 1 with respect to the notion of authority, Chapter 2 through party scenes, and Chapter 3 concerning the portrait genre). My research reveals that the modernist satiric exchanges within these networks can be analyzed as, on the one hand, manifestations of the selected periods political dynamics and, on the other hand, cultural productions that altered how gender was discursively constructed within specific social environments of that period. In brief, the study illustrates how gender and its performance, aesthetics, and rhetoric become central to the production and function of satire in modernist art and literature

    The 2014 Pittsburgh Hill District Redevelopment in the News:Frames, News Values, and Sources

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    The Hill District of Pittsburgh, Pennsylvania, is known for its rich cultural history that has been heavily influenced by its historically Black population. After years of disinvestment, in 2014, public and private investors announced plans to redevelop the area in an attempt to revitalise the community and its economy. With the announcement, Hill District residents were concerned that the planned redevelopment could lead to gentrification in the area. Although the redevelopment received significant attention in the news, little research has been devoted to analysing the views and voices in the news coverage. This study is the first to analyse how the Hill District redevelopment was reported in Pittsburgh news outlets, specifically online newspapers. It focuses on how the redevelopment was reported in Pittsburgh news media in the important early stages of its announcement. It draws on theories from across linguistics and media and communication studies, specifically, frame theory, news values, sources (what types of sources are quoted and how their statements are introduced when quoted). The study also examines the role of visual images within the different frames and elaborates the types of news values that visual images construe. Through examining a data set of seven news articles, which were published at key points in the redevelopment timeline, the close textual analysis exposes that the analysed newspapers incorporate two frames that work together to present the redevelopment in a positive light and a counter-frame which positions the redevelopment not as a solution, but as the problem. Two frames offer positive representations of the redevelopment, voiced by conventionally authoritative sources such as politicians and business representatives, while the counter-frame is representative of grassroots organisation leaders’ voices. Fears about displacement and gentrification are part of this counter-frame. When community group voices and views are not represented in the news, attitudes abou t redevelopment deals become one-sided, naturalised and overall, they exclude voices of those most directly affected, the community

    Recent Hong Kong cinema and the generic role of film noir in relation to the politics of identity and difference

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    This thesis identifies a connection in Hong Kong cinema with classical Hollywood film noir and examines what it will call a 'reinvestment' in film noir in recent films. It will show that this reinvestment is a discursive strategy that both engages the spectator-subject in the cinematic practice and disengages him or her from the hegemony of the discourse by decentring the narrative. The thesis argues that a cinematic practice has occurred in the recent reinvestment of film noir in Hong Kong, which restages the intertextual relay of the historical genre that gives rise to an expectation of ideas about social instability. The noir vision that is seen as related to the fixed categories of film narratives, characterizations and visual styles is reassessed in the course of the thesis using Derridian theory. The focus of analysis is the way in which the constitution of meanings is dependent on generic characteristics that are different. Key to the phenomenon is a film strategy that destabilizes, differs and defers the interpretation of crises-personal, social, political and/or cultural-by soliciting self-conscious re-reading of suffering, evil, fate, chance and fortune. It will be argued that such a strategy evokes the genre expectation as the film invokes a network of ideas regarding a world perceived by the audience in association with the noirish moods of claustrophobia, paranoia, despair and nihilism. The noir vision is thus mutated and transformed when the film device differs and defers the conception of the crises as tragic in nature by exposing the workings of the genre amalgamation and the ideological function of the cinematic discourse. Thus, noirishness becomes both an affect and an agent that contrives a self-reflexive re-reading of the tragic vision and of the conventional comprehension of reality within the discursive practice. The film strategy, as an agent that problematizes the film form and narrative, gives rise to what I call a politics of difference, which may also be understood as the Lyotardian 'language game' or a practice of 'pastiche' in Jameson's terminology. Under the influence of the film strategy, the spectator is enabled to negotiate his or her understanding of recent Hong Kong cinema diegetically and extra-diegetically by traversing different positions of cinematic identification. When the practice of genre amalgamation adopts the visual impact of the noirish film form, the film turns itself into a playing field of 'fatal' misrecognition or a site of question. Through cinematic identification and alienation from the identification, the spectator-subject is enabled to experience the misrecognition as the film slowly foregrounds the way in which the viewer's presence is implicated in the narrative. This thesis demonstrates that certain contemporary Hong Kong films introduce this selfconscious mode of explication and interpretation, which solicits the spectator to negotiate his or her subject-position in the course of viewing. The notions of identity and subjectivity under scrutiny will thus be reread. With reference to The Private Eye Blue, Swordsman II, City a/Glass and Happy Together, the thesis shall explore the ways in which the Hong Kong films enable and facilitate a negotiation of cultural identity

    The Weight of (Im)possibility: Exploring body weight and shape with trans and gender non-conforming people

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    In recent decades, theorising around trans embodiment has sought to move away from narratives of the ‘wrong’ and pathological trans body. Emergent analytical and theoretical frameworks have instead highlighted the ways in which particular bodies become designated as trans, and what this means for the kinds of possibilities for embodiment that are opened up and closed down at the levels of both individual relationships and contexts, and structural and systemic constraints. The significance of weight and shape in relation to these embodied possibilities has not yet been fully explored within sociology. Drawing upon qualitative interviews with 21 participants who identified as trans and/or gender non-conforming, this thesis examines the intersection of body weight and shape with trans and gender non-conforming positionality in order to address gaps in existing knowledge around the meaning and significance of weight and shape for trans and gender non-conforming people and communities in the UK. Phenomenological epistemology informs this thesis and the thematic analysis (TA) undertaken, centring participants’ experiential claims. In discussion of the findings presented, I argue that weight and shape are enmeshed with the constraints and possibilities of gendered positionality in ways that indicate the need for wide-reaching and profound transformation in order for relationships with the body based on connection, acceptance, and pleasure to be more consistently and widely possible for trans and gender non-conforming people. Relationships with weight and shape, as I illustrate in this thesis, were not simply shaped by the conditions and possibilities for embodiment in which they were situated, but represented sites of agentic engagement within and through conditions of embodied possibility
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