Thematische Bibliographien / Naomi (1969-....)

Auswahl der wissenschaftlichen Literatur zum Thema „Naomi (1969-....)“

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Veröffentlicht am 22. Juni 2024

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Zeitschriftenartikel zum Thema "Naomi (1969-....)":

Schoneveld, Erin. „Naomi Kawase’s “Cinema of Place”“. Arts 8, Nr. 2 (28.03.2019): 43. http://dx.doi.org/10.3390/arts8020043.

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This article evaluates contemporary filmmaker Naomi Kawase’s (b. 1969–) status within Japan’s film industry as well as her place among women directors. Using Kawase’s three award winning features Suzaku (Moe no suzaku, 1997), Shara (Sharasōju, 2003), and Mogari (Mogari no mori, 2007) as the basis of my analysis, I examine the way in which these films illuminate the construction of Kawase’s female authorship in relation to a specific location. While Kawase has made a number of critically and commercially successful films since 2007, I limit my discussion to her early narrative works set in Nara, Japan in order to illuminate the significance of the international film festival apparatus in establishing and upholding the discourse of auteurism in relation to regional identity. Through my analysis I argue that Kawase successfully negotiates this discourse through a strategy of self-promotion that emphasizes a “cinema of place” within the broader context of international film festivals such as Cannes. Kawase’s “cinema of place” ultimately allows her to rearticulate the meaning of female authorship within an art cinema context by representing a new national cinema that challenges the structures and boundaries of Japan’s studio system.

Debnam, Jewell C. „Mary Moultrie, Naomi White, and the Women of the Charleston Hospital Workers’ Strike of 1969“. Souls 18, Nr. 1 (14.03.2016): 59–79. http://dx.doi.org/10.1080/10999949.2016.1162575.

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Hryhorov, Viktor. „TRANSFORMATION OF THE KYIV MURALS AND MOSAICS AT THE TURN OF THE 1950–1960S AND THEIR IMPACT ON THE MONUMENTAL PAINTING DEVELOPMENT“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 28 (15.12.2019): 90–97. http://dx.doi.org/10.33838/naoma.28.2019.90-97.

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During twentieth century monumental painting has undergone numerous changes in iconography, stylistics and figurative-plastic language itself. An important milestone was the turn of the '50–'60s. When the artists resorted to active decorative searches and the ways of plane expression.In the 1930–50's, socialist realism became the main pointer for the monumental artist, which was the dominant artistic method at that time. For the most effective use of this method, the artists have been oriented on the realistic and academic principles, filling classical forms with Soviet meaning. Panels become burdensome and suffocated by architectural decoration, the expressiveness of the monumental painting was lost.However, at the end of the '50s monumental painting began to move away from realistic tendencies. A search of new ways of expressions have been proceeded. A search of new ways of expressions proceeded. The impetus for rethinking styling was widely known resolution of November 4, 1955 "About the elimination of redundancies in design and construction. "The document became the peculiar starting point in Soviet architecture as well as monumental painting.According to this resolution aesthetical side had to be solved by organically linking the architectural form to the purpose of the building and established proportion. The task of architects was to work on the creation of standard buildings in simple economic forms.Thus, new opportunities for development in the monumental painting appear. With the formation of new architecture, murals and mosaics are gaining ground for experiments both with materials and figurative-plastic solutions.At the turn of the 60's significant projects were created in Kyiv, among them Kiev River Station (1961), Kiev Bus Station (1961), Shulyavska Subway Station (1963), Metro Restaurant (1963), interior design at The Institute of Plant Physiology and Genetics, NAS of Ukraine (1962), exteriors of the Institute of Plant Protection of the UAAS (1962).

Ball, Laura C., und Alexandra Rutherford. „Naomi Weisstein (1939–2015).“ American Psychologist 71, Nr. 1 (2016): 77. http://dx.doi.org/10.1037/a0039886.

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Liu, Zheng Mao, Guang Liang Xia, Zhi Ke Chen, Ting Ting Sun, Pai Liu, Chao Du, Chao Qing und Ya Shan Song. „Runoff Depth Variation Process and Driving Mechanism of Upper Reaches of Marsh Stream“. Advanced Materials Research 550-553 (Juli 2012): 2571–79. http://dx.doi.org/10.4028/www.scientific.net/amr.550-553.2571.

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Through the double mass curves analysis, it concluded that the relationship between the areal and the runoff depth within upper reaches of the Naoli River, the Naoli River basin had experienced a great change since 1963, especially the runoff coefficient which appeared in a decreasing trend. By adopting the runoff coefficient difference Rank and T test (α=0.05,n1=7,n2=43,T=255,T1α=108.52,T2α=248.47, T＞T2α＞T1α), it also concluded that there was no consistency between the runoff coefficient series from 1956 to 1962 and the ones from 1963 to 2005. By analyzing the frequency curves of precipitation-runoff depth, it indicated that, under the same precipitation frequency, the runoff coefficient in 1963-2005 was much smaller than that in 1956-1962. The research results revealed that: (1) The precipitation was the key driving force to runoff variation; (2) The land use/cover changes posed by human activities was one of important causes contributing to runoff coefficient mutation in the catchment area; (3)The runoff depth variation was mainly controlled by the Longtouqiao reservoir and the water consumption was influenced by irrigation of paddy field since 2001.

Carr, AHIP, Alan, und Michelle Kraft, AHIP, FMLA. „Naomi Cordero Broering (1929-2023)“. Journal of the Medical Library Association 112, Nr. 1 (11.01.2024): 60–61. http://dx.doi.org/10.5195/jmla.2024.1705.

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McConville, Brian J., und Simon Davidson. „Naomi Rae-Grant, M.D. (1929–1998)“. Journal of the American Academy of Child & Adolescent Psychiatry 39, Nr. 3 (März 2000): 393. http://dx.doi.org/10.1097/00004583-200003000-00025.

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Weinstein, Arthur. „Naomi Rothfield, MD, MACR 1929-2023“. Lupus 33, Nr. 1 (Januar 2024): 96. http://dx.doi.org/10.1177/09612033231221506.

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Sheridan, Dorothy. „Woven Tapestries: Dialogues and Dilemmas in Editing a Diary“. European Journal of Life Writing 10 (22.04.2021): MO45—MO67. http://dx.doi.org/10.21827/ejlw.10.37405.

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Naomi Mitchison (1897-1999) was an established novelist and political campaigner throughout her life. During the Second World War, she kept an extensive daily diary from her home on the Mull of Kintyre in Scotland which she sent in instalments to the London offices of the social research organisation, Mass Observation. Until the 1980s, this diary, together with 500 other diaries for the same period, remained largely unread. It was stored as part of the valuable Mass Observation Archive which was deposited at the University of Sussex in 1970. Between 1982 and 1984 it was edited for publication by Dorothy Sheridan, the Mass Observation archivist, in collaboration with Naomi Mitchison herself. It was first published as a book in 1985 by Gollancz as Among you taking notes: the wartime diary of Naomi Mitchison 1939-1945. This article is an account of the collaborative process of editing the original diary for publication and addresses questions of ownership, ethics and methodology raised by the process of editing life documents.

Qaisi, Zainab Al, und Wafa Awni Al Khadra. „The Thirdspace of Resistance Literature in Naomi Shihab Nye’s “1935” and Hala Alyan’s “Hijra”“. Theory and Practice in Language Studies 13, Nr. 9 (01.09.2023): 2263–70. http://dx.doi.org/10.17507/tpls.1309.12.

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This paper examines the poetry of the two Palestinian American poets, Naomi Shihab Nye and Hala Alyan within the concept of the “thirdspace” of resistance literature. With this premise in mind, the study uses Edward Soja’s concept of “thirdspace” (1998) to examine the poetry of Naomi Shihab Nye and Hala Alyan as an articulation of “resistance poetry” exemplified in Ghassan Kanafani’s book entitled Resistance Literature in Occupied Palestine 1948-1966 (1966). The poem itself, as a form, is an imagined geography constructed by the poet’s personal and collective memories that build up his/her spaces of resistance poetry. In these artistic cartographies, memories traverse from contested lands and geographies to a “thirdspace” that recreates a timeline of stories and narratives that unfold the poems’ resistance manifesto. To foreshadow these imagined memories, the poem functions as: first, a documented tool of resistance to forgetfulness; second, an artistic device for articulating memory; third, a “thirdspace” where contested geographies of resistance and resilience dissolve to re-visioning history that curates hybridized literary spaces of prose poetry and cartographies of memory.

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Dissertationen zum Thema "Naomi (1969-....)":

Rèbre, Isabelle. „Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov“. Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.

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Cette recherche développe une réflexion autour du photographique dans son lien à la mémoire et au deuil, qu’il soit intime ou d’ordre historique. Elle montre que la photographie est une figure de deuil, autrement dit, elle fait à la fois coupe et lien. A travers un corpus restreint de trois films-essais, elle analyse des figures de deuil et des gestes filmiques singuliers. Dans La Danse des souvenirs (2002), Naomi Kawase est confrontée à une mort intime. L’imbrication de clichés photographiques dans le film produit une suspension qui provoque un renversement dans cette trajectoire dont l’issue semblait fatale. La cinéaste use de la photographie comme une figure de lien qui permet de relier les vivants et les morts. Dans Ce répondeur ne prend pas de messages (1978), Alain Cavalier, incarne un homme endeuillé. Le cinéaste reprend un grand nombre de clichés photographiques tirées de ses archives personnelles, parmi lesquelles des coupures de journaux représentant des cadavres de la guerre. A travers ce geste de reprise, la problématique prend une dimension historique. À l’instar de la photographie devenue ici figure de coupe, le film déploie un ensemble de figures où la rupture insiste, participant d’un jeu de deuil. Avec Le Journal (1973-1982) de David Perlov qui est enserrés entre deux guerres, le texte aborde la problématique dans sa dimension politique. Le cinéaste israélien qui est aussi photographe, utilise différents formats de photographies. A travers les gestes de reprises et de répétitions, le photographique permet une transformation de la figure qui permet la séparation avec un passé traumatique
This dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past

Pohlig, J. N. „A cognitive analysis of similes in the Book of Hosea /“. Thesis, Link to the online version, 2006. http://hdl.handle.net/10019.1/1471.

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Zhang, Li. „Modelling discharge, sediment and phosphorus loads : a catchment-scale study in the Namoi Basin, Australia“. Phd thesis, 1999. http://hdl.handle.net/1885/148026.

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Zangana, Nazmi [Verfasser]. „Die operative Entwicklung der Pulmonalis-Embolektomie und deren korrespondierende Ergebnisse : Einzelzenteruntersuchung der Jahre 1959 - 1998 / vorgelegt von Nazmi Zangana“. 2004. http://d-nb.info/972164936/34.

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Bücher zum Thema "Naomi (1969-....)":

1897-, Benedict an tAthair, und Mac Giolla Chomhaill Anraí, Hrsg. Scéal anama: Dírbheathaisnéis Naomh Treasa leis an Leanbh Íosa. [Baile Átha Cliath]: FAS, 1997.

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Volʹf, Aleksandr. Ri͡a︡dom s nami. Moskva: Izd-vo polit. lit-ry, 1986.

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Michelle, Isenberg, und Starr Sandra Leonard, Hrsg. Selections from the Naomi Feldman collection: Los Angeles art 1962-1988. Pasadena, Calif: Typecraft, 2000.

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Šmoldas, Miroslav. Před námi Praha. Praha: Naše vojsko, 1985.

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Mitchison, Naomi. Among you taking notes...: The wartime diary of Naomi Mitchison, 1939-1945. Oxford: Oxford University Press, 1985.

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Mitchison, Naomi. Among you taking notes -: The wartime diary of Naomi Mitchison 1939-1945. Oxford: Oxford University Press, 1986.

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Mitchison, Naomi. Among you taking notes--: The wartime diary of Naomi Mitchison, 1939-1945. London: V. Gollancz, 1985.

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Zagończyk, Konrad. Między nami sąsiadami: Wspomnienia. Warszawa: Fundacja Pomocy Antyk "Wydawnictwo Antyk Marcin Dybowski", 2005.

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Egorov, V. G. Geroi ostai͡u︡tsi͡a︡ s nami: Dokumentalʹnai͡a︡ povestʹ. Kharʹkov: Prapor, 1986.

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V, Gorbunov A., Hrsg. Za nami Moskva: Borodino, 1941. Moskva: Kuchkovo pole, 2007.

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Buchteile zum Thema "Naomi (1969-....)":

Cummings, Lindsay B. „Naomi Wallace (b.1960)“. In The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism, 488–94. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003006923-75.

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Miller, Gavin. „Existential-humanistic psychology“. In Science Fiction and Psychology, 167–200. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620603.003.0004.

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Existential-humanistic psychology recovers neglected philosophical and spiritual categories regarded as proper to human being, in contrast with animal life or inanimate systems. Existential-humanistic proto-discourses are important to Vincent McHugh’s I Am Thinking of My Darling (1943), in which an emerging ideal of personal authenticity queries the American Dream in 1940s’ New York. McHugh’s critical utopia contrasts with the ponderous extrapolations of Colin Wilson in The Mind Parasites (1967) and The Space Vampires (1976), and Doris Lessing in The Four-Gated City (1969). Both these authors – despite their widely differing positions in the literary canon – use science fiction as a didactic and futurological (even prophetic) medium in which existential psychology serves as the supposed rationale for spiritual apotheosis (including the cultivation of psi powers). A more fruitful post-war deployment of existential-humanistic psychology can be found in texts such as Theodore Sturgeon’s ‘And Now the News …’ (1956), Naomi Mitchison’s Memoirs of a Spacewoman (1962) and Marge Piercy’s Woman on the Edge of Time (1976), which critique the instrumental tendencies of mainstream psychology.

Faragher, Megan. „Fire or Blood? Aestheticising Resistance in Naomi Mitchison’s The Blood of the Martyrs“. In Naomi Mitchison, 108–21. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494748.003.0008.

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In 1935, Naomi Mitchison visited sharecroppers in Arkansas, describing the conditions as ‘worse than any rural housing I have ever seen in Europe.’ Four years later, she published The Blood of the Martyrs (1939), a novel centred on Roman practices of slavery and the persecution of early Christians. Foregrounding the value of forgiveness and pacificism, the novel offers a distinct contrast to her earlier interwar novels. Unlike historical slavery allegories like The Corn King and Spring Queen (1930) and The Delicate Fire (1933), Mitchison’s fiction later in the decade locates resistance to slavery outside the violent revolutions that so frequently feature in those early works. This chapter argues that Mitchison’s travels, particularly her work supporting the Southern Tenant Farmers’ Union in the United States, were crucial to the development of her theory of resistance to authoritarian manifestations of power. The Blood of the Martyrs sidelines violent resistance in favour of a community that fosters love, pacifism, and forgiveness as responses to abhorrent persecution. Mitchison’s emphasis on the spirit of collective action, including its ability to transcend death, reveals a new approach to the politics of resistance in her fiction.

Kathirithamby, Jeyaraney. „Further Homage To Santa Rosalia Discovery at last of the elusive females of a species of Myrmecolacidae (Strepsiptera: Insecta)“. In Narrow Roads Of Gene Land, 117–34. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780198566908.003.0006.

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Abstract I first met Bill at Imperial College, London, and he struck me as a quiet but very hard-working scientist. I was researching leafhoppers then, which are not strange and unusual insects, so other than polite greetings we did not engage in long conversations. However, when Bill came to Oxford in 1984 we met often to talk about Strepsiptera, as I had begun working seriously on this group in 1979. Bill was curious about all things strange—hence his interest in these bizarre entomophagous parasites. He regularly stopped by my room to chat about the latest find in Strepsiptera. It was just after Christmas 1999 that I last saw him, before his trip to the Congo in January 2000. He wanted to photocopy something to send Naomie Pierce, and had forgotten his copying key, so I lent him mine.

„Naomi Seidman, “Elie Wiesel and the Scandal of Jewish Rage,” 1996“. In The New Jewish Canon, 194–98. Academic Studies Press, 2020. http://dx.doi.org/10.2307/j.ctv1zjg9h6.35.

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Miller, Gavin. „Evolutionary psychology“. In Science Fiction and Psychology, 45–80. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620603.003.0001.

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This chapter explores the importation into science fiction of evolutionary psychology, including earlier schools such as Social Darwinism and sociobiology. Social Darwinism motivates an anti-utopian tendency to forecast a state of future decadence that can be arrested only by the re-activation of dormant evolutionary mechanisms. This pattern may be familiar enough from H.G. Wells’s The Time Machine (1895) and Robert Heinlein’s The Moon is a Harsh Mistress (1966), but is less easily perceived in Octavia Butler’s sequence, Parable of the Sower (1993) and Parable of the Talents (1998), which predicts a new evolutionary lineage for homo sapiens emerging from a future in which the USA is a failed state. The authority of evolutionary psychology is challenged in Kurt Vonnegut’s Galápagos (1985), which satirizes the sociobiological paradigm by taking to the point of absurdity evolutionary explanations for human aggression. Science fiction can, moreover, escape hackneyed Social Darwinist discourses by drawing upon alternative evolutionary psychologies. Naomi Mitchison’s future utopia in Memoirs of a Spacewoman (1962) draws upon attachment theory to offer a renewed feminist ethic of compassion and imaginative understanding, while also estranging our dominant ethical systems.

Gur, Raque E., und Ann Braden Johnson. „Conclusion: A Call for Action“. In If Your Adolescent Has Schizophrenia, 124–28. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182118.003.0006.

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Abstract In 1979 the National Alliance on Mental Illness (NAMI) was founded by parents of children with serious mental illnesses, including schizophrenia. The founding members were brought together by a shared need for emotional support and for information about coping strategies and resources that they could draw on to confront the devastating impact of severe mental illness on their families. Out of their early meetings, however, came the realization that there is power in numbers, and the members of NAMI figured out that collectively they were in a good position to exert political pressure on their state governments to develop adequate services for the mentally ill. Today, NAMI is a nonprofit, grassroots, self-help, support and advocacy organization of patients (consumers), families, and friends of people with severe mental illnesses who work, according to NAMI’s website, NAMI is now an enormous national organization that lobbies on behalf of its members, and any parent of a child with a serious mental illness such as schizophrenia should join it, whether for support, to become active, or both.

Figueroa, Michael A. „Gilded Jerusalem“. In City of Song, 155–88. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197546475.003.0005.

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Chapter 4 is organized around the work most directly identified with the genre of Jerusalem song, Naomi Shemer’s “Jerusalem of Gold,” written and debuted in 1967, on the eve of the Six-Day War, and commonly referred to as an unofficial national anthem. In addition to investigating the song’s anthemic status, the chapter chronicles the song’s reception over the ensuing five decades, showing how the representational strategy of the lyrics has become a point of contention within national political discourse. Like the chapter preceding it, this one includes discussion of covers and parodies, including Meir Ariel’s “Jerusalem of Iron,” and the songs’ appearance on several anthologies and victory albums.

Harwell, Osizwe Raena Jamila. „Private Matters and Public Health: Campbell Takes On Mental Illness at Home and in the Community“. In This Woman's Work. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807588.003.0002.

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Chapter two provides an in-depth discussion of Bebe Moore Campbell’s activism as a mental health advocate from 1999-2006 based on interviews with colleagues, family, and friends. It narrates her personal struggle with a daughter who is bipolar and the proactive stance that she took to cope with this difficulty. The chapter reveals how her involvement in the National Alliance on Mental Illness (NAMI), her role as a national spokesperson, and her local activism sparked the birth of the NAMI-Urban LA chapter, serving black and Latino communities. Campbell and a group of black women concerned about their children with mental illness effectively addressed the practical needs of families of color by challenging stigma, lobbying for social policies, and providing information, support, and resources both locally and on a national stage. Considering gendered racial communities as the resource and landscape for much of Campbell’s work, it appears that she maintained a broad friendship circle beyond the Black Action Society and NAMI- Urban LA. Exploring this primarily female “embedded friendship network” further evidences Campbell’s commitment to community and family and broadens context of her activism, writing, and life trajectory.

Gollance, Sonia. „“What Comes From Men and Women Dancing”“. In It Could Lead to Dancing, 173–84. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.003.0008.

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The epilogue connects tropes of the nineteenth and early twentieth centuries of Jews, dance, and modernization with late twentieth- and twenty-first-century representations. Popular works such as Fiddler on the Roof (1964), Dirty Dancing (1987), Rebecca Goldstein’s Mazel (1995), Kerry Greenwood’s Raisins and Almonds: A Phryne Fisher Mystery (1997), Helene Wecker’s The Golem and the Jinni (2013), and Naomi Novik’s Spinning Silver (2018) reveal the continued efficacy of the mixed-sex dancing trope in fictional representations of Yiddish-speaking Jews. These works are often less didactic than nineteenth-century predecessors; they envision more opportunities for female agency and frequently end happily. Not only is the dance floor a flexible space, the dance trope is a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions. In other words, the trope of Jewish mixed-sex dancing charts the particularities of the Jewish “dance” with modern culture.

Berichte der Organisationen zum Thema "Naomi (1969-....)":

Jackson, G. D. Bedrock geology, northwest part of Nuluujaak Mountain, Baffin Island, Nunavut, part of NTS 37-G/5. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/314670.

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The map area lies about 40 km northwest of Baffinland's iron mine. Dykes of unit mAnA3 within unit mAnA2 suggest that unit mAnA2 predates unit mAnA3. Unit nAMqf, basal Mary River Group unit, includes regolith material from units mAnA2 and mAnA3. Unit mAnAm may include some dykes of unit nAMb. The Mary River Group was deposited in a volcanic-arc environment, yielding zircon U-Pb ages mostly in the range of 2.88 to 2.72 Ga. Iron-formation (unit nAMi) is approximately 276 m thick locally, with oxide facies (unit nAMio) being most abundant. The quartzite triangle west of 'Iron lake' (unofficial name) may be a small horst. The main east-west-trending synclinal fold, including the area around 'Iron lake' and the no. 4 ore deposit, is upright, nearly isoclinal, and plunges mostly easterly at both ends with small scale anticlines and synclines in the middle. Magnetite constitutes about 75% of high-grade iron deposits in the north limb, whereas hematite predominates in south-limb deposits. K-Ar and Rb-Sr ages indicate middle Paleoproterozoic overprinting. Central Borden Fault Zone was active at ca. 1.27 Ga and during or after Ordovician time. Note: please be aware that the information contained in CGM 408 is based on legacy data from the 1960-1990s and that it has been superseded by regional-scale information contained in CGM 403.