Philip Cowen papers undated, 1873-1935

Contains primarily correspondence and published material in English, German and Russian relating to anti-Semitism in Russia and Roumania, the Russian passport question, loans from Jewish bankers to the Russian government and immigration from Eastern Europe, especially Russia, to the United States. Includes also correspondence concerning Jewish welfare institutions and agricultural colonies in the United States and the National Farm School in Doylestown, Pa. Also contains correspondence relating to and drafts of articles for the American Hebrew, particularly the Emma Lazarus memorial number, and correspondence relating to the publication of the Jewish encyclopedia and to survey on anti-Semitism conducted in 1890, as well as information on the Jews in China and material relating to Count Arthur Cherep-Spiridovich.

Animated Mise-en-scene and aesthetic harmony: An expansion of the traditional principles of animation to 3D computer animation

3D Computer Graphics (CG) has become the dominant medium for modern animated feature films. It is widely understood that traditional principles of animation developed in the 1930s at the Walt Disney Studio remain applicable to this new medium and heavily influence the range of aesthetic motion styles in contemporary animation. Via a frame-by-frame textual analysis of four animated feature films, this thesis tests and confirms the validity of the principles of animation and expands upon them by reinterpreting the Disney principle of appeal as aesthetic harmony, which delineates the way in which character posing and transitions between poses contribute to the animated motion styles that animators work in today.

Yemaya, No. 28, August 2008

Reflections/ Women in Fisheries Policies - Meeting the challenge. Africa/ South Africa - Righting gender injustices. Asia/ China - Contributing significantly. Europe/ Norway - Taking along the 'crewmembers'. Africa/ Uganda - Bringing in the catch. Reflections/ Women in Fisheries Policies - Recognizing women in fisheries: Policy considerations for developing countries. Asia/ The Philippines - 'Engendering' the fisheries industry development plan. Yemaya Recommends - Women in the Fishing: The Roots of Power between the Sexes. Profile - Meet Sherry Pictou. Q&A - Interview with Dr. Cornelia E. Nauen. Milestones - International legal instruments of relevance to women in fisheries. What's New, Webby? - Statement from Women’s Workshop, South Africa. Yemaya Mama in Bangkok – Cartoon. Poem - Ancient food for future generations.

Mafalda na aula de História: a crítica aos elementos característicos da sociedade burguesa e a construção coletiva de sentidos contra-hegemônicos

A partir da leitura crítica de Mafalda, obra do cartunista argentino Quino, e alicerçados no conceito de hegemonia de Gramsci, sobretudo na noção de contra-hegemonia, buscamos analisar as possibilidades de se construir coletivamente sentidos contra-hegemônicos no ensino de História a partir do que chamamos de crítica aos elementos característicos da sociedade burguesa (a democracia, o individualismo, o estímulo ao consumo, a propriedade privada, a naturalização das diferenças, a competição, dentre outros). As contribuições de Gramsci ao campo da Educação, como o vínculo dialético entre as relações hegemônicas e pedagógicas, sua concepção da escola como um destacado aparelho privado de hegemonia, além das reflexões sobre os intelectuais e sua ação pedagógica na construção/difusão/legitimação de consensos, constituem pilares fundamentais das análises. É esforço fundamental da pesquisa identificar em que medida os professores, conscientes de seus vínculos de classe e compromissados com as classes dominadas, podem atuar como educadores-intelectuais orgânicos à estas classes, no âmbito da escola, tornando-a uma trincheira sob o conceito gramsciano de guerra de posição contra a hegemonia burguesa. Em termos metodológicos, foram selecionadas quinze tiras de Mafalda (divididas em onze temas os elementos que caracterizam a sociedade burguesa), presentes na obra Toda Mafalda (2002), no intuito de subsidiar as reflexões aqui esboçadas. Obviamente, todo recorte é ideológico e nenhuma escolha é neutra. As tiras escolhidas, longe de sintetizarem o olhar do artista argentino a respeito da burguesia, atendem aos objetivos deste trabalho.

A intertextualidade e a interdiscursividade como estratégias argumentativas nas charges de Angeli e Glauco

Com base nos pressupostos teóricos da Linguística Textual e Análise do Discurso, esta dissertação pretende demonstrar que a intertextualidade e a interdiscursividade são elementos linguístico-discursivos fundamentais que atuam no gênero charge na construção de seu sentido, funcionando como importantes recursos argumentativos. Para tanto, o estudo buscará recuperar o contexto de produção das charges analisadas, estabelecer a estreita relação entre o verbal e o não verbal para construção do sentido desse gênero e reconhecer o discurso irônico como uma forma produtiva pela qual a intertextualidade e a interdiscursividade se marcam no gênero em questão, evidenciando o papel argumentativo desses mecanismos dialógicos. O trabalho é desenvolvido mediante pesquisa bibliográfica e análise de 20 charges de Angeli e Glauco referentes ao primeiro mandato do governo Lula. O recorte temporal justifica-se por ter sido um período de efervescência política muito grande, favorecendo a produção de charges bastante expressivas

卡通化图像和视频的毛发纹理生成与替换

低成本卡通制作中的图像和视频通常缺乏对动物角色毛发效果的表现,为了能对已有图像及视频中的动物角色进行处理,为其增添具备真实感的毛发效果,提出一种毛发风格化算法——卡通化毛发纹理算法.针对卡通中的动物角色合成毛发纹理并进行替换,分为图像应用及视频应用2个部分.在图像替换时,对要进行风格化处理的目标区域进行图像结构分析,以获取覆盖目标区域的三角网格,再生成毛发纹元并映射于网格之上,通过绘制纹元来生成具备真实感的毛发效果;在进行视频替换时,提取视频关键帧并基于图像应用算法生成相应的卡通化毛发纹理进行图像替换,之后根据关键帧的替换结果指导整个视频的替换.为了获取随时间变化的图像关键帧目标区域,采用SIFT算法计算特征点在时间轴上的匹配;为了快速合成卡通化毛发纹理,采用基于GPU的光线行进算法加速毛发纹元的体绘制过程.实验结果表明,文中算法可成功地对已有图像及视频的动物角色添加具备真实感的毛发效果.

The Interloping Beguiler: for Bass Clarinet and Orchestra

The Interloping Beguiler is an nineteen-minute concerto in four movements for bass clarinet solo and orchestra. The title refers to the role of the solo instrument, which continually thrusts itself into the affairs of the orchestra, deceiving and diverting the members of the orchestra away from their task of performing a "serious" orchestral composition. The bass clarinet portrays a comical, cartoon-like character whose awkward, and sometimes goofy, interjections cause chaos. Attempts are made by various members of the orchestra, especially the horns, to regain control of the work, but the bass clarinet always succeeds in its distracting antics. By the final movement of the composition, the bass clarinet has propelled the work into a cartoon-like landscape of quickly changing textures, dissonant intervals, and overlapping themes. The first movement, Introduction, sets the serious tone of the music to follow, or so it would seem. The entrance of the bass clarinet immediately changes this texture with its out-of-rhythm alternations between high and low pitches. This gesture provides a glimpse into the personality of the bass clarinet, an instrument here to mislead the members of the orchestra. Deception truly begins in the second movement, The Interloping Initiates. The bass clarinet starts the movement with a driving theme and is immediately supported by the orchestra. As the movement progresses, the bass clarinet quickly begins altering the theme, making it more playful and cartoonish. A struggle ensues between the horns and the bass clarinet, with the bass clarinet catapulting the piece into a latin-inspired section. The struggle continues through to the end of the movement. The third movement, Calm, is exactly what the title suggests. A sectional form distinguishes this movement from the second movement. Throughout Calm, the bass clarinet behaves with decorum, except for very large melodic leaps. The seed of anarchy planted by the bass clarinet in the second movement comes to fruition in the final movement, The Beguiling Builds. Here, the bass clarinet sends the work into chaos with sections recalling Looney Tunes cartoons, Hollywood western music, and children's folk songs.

El idiotismo de la sociedad tradicionalista tecnificada de principios de siglo XX en Colombia: La crítica de Luis Vidales a través de "Suenan timbres"

En este artículo tratamos, por medio de Suenan timbres de Luis Vidales, el idiotismo de la sociedad tradicionalista tecnificada de principios de siglo XX en Colombia. Estudio que realizamos desde el concepto de idiotismo de Vidales, en estrecha relación con el de cultura de viñeta de Rafael Gutiérrez Girardot, para plantear la burla del poeta a la sociedad capitalista, que cuestiona la presencia de la Iglesia católica y la política conservadora en todos los estadios de la vida nacional.

Kawamoto’s "Dojoji Temple": Puppetry, Gesture and Myth

Dojoji Temple ( Dōjōji, 1976) is a short puppet animation directed by Kihachirō Kawamoto. Influenced by Bunraku (Japanese puppet plays), emaki (painted scroll), Noh theatre and Japanese myth, Dojoji Temple tells of a woman’s unrequited love for a young priest. Heartbroken, she then transforms into a sea serpent and goes after the priest for revenge. While Kawamoto’s animation is rich with Japanese aesthetics and tragedy, his animation is peopled by puppets who do not speak. Limited and restrained though the puppets may be, their animated gestures speak volumes of powerful emotions. For our article, we will select several scenes from the animation, and interpret their actions so that we can further understand the mythical world of Dojoji Temple and the essential being of puppetry. Our gesture analysis will take into account cinematographic compositions, sound and bodily attires, among other elements.

Kids’ Life and Times: using an Internet survey to measure children’s health-related quality of life

Objective
To examine the psychometric properties of an internet version of a children and young person's quality of life measure originally designed as a paper questionnaire.

Methods
Participants were 3,440 10 and 11 year old children in Northern Ireland who completed the KIDSCREEN-27 online as part of a general attitudinal survey. The questionnaire was animated using cartoon characters that are familiar to most children and the questions appeared on screen and were read aloud by actors.

Results
Exploratory principal component analysis of the online version of the questionnaire supported the existence of five components in line with the paper version. The items loaded on the components that would be expected based on previous findings with five domains - physical well-being,psychological well-being, autonomy and parents, social support and peers and school environment.Internal consistency reliability of the five domains was measured using Cronbach's alpha and the results suggested that the scale scores were reliable. The domain scores were similar to those reported in the literature for the paper version.

Conclusions
These results suggest that the factor structure and internal consistency reliability scores of the KIDSCREEN-27 embedded within an online survey are comparable to those reported in the literature for the paper version.

Using projective techniques to tap into consumers' feelings, perceptions and attitudes ... getting an honest opinion

An investigation into customer loyalty to food retailers posed a methodological problem namely how to delve beneath the surface and access consumers' unspoken feelings, perceptions, attitudes and values. This paper explains how four different projective techniques were used to access the thoughts and feelings of 160 interviewees in order to obtain a thorough understanding of the interviewees' satisfaction with their 'main' food retailer and to characterize the relationship between the customer and retailer. A brief description of the use, analysis and examples of cartoon friends, word association, personification and mini case studies was provided in order to describe their role in the data collection process.

Children's views on microneedle use as an alternative to blood sampling for patient monitoring

Objectives: To explore children's views on microneedle use for this population, particularly as an alternative approach to blood sampling, in monitoring applications, and so, examine the acceptability of this approach to children.

Methods: Focus groups were conducted with children (aged 10-14 years) in a range of schools across Northern Ireland. Convenience sampling was employed, i.e. children involved in a university-directed community-outreach project (Pharmacists in Schools) were recruited.

Key findings: A total of 86 children participated in 13 focus groups across seven schools in Northern Ireland. A widespread disapproval for blood sampling was evident, with pain, blood and traditional needle visualisation particularly unpopular aspects. In general, microneedles had greater visual acceptability and caused less fear. A patch-based design enabled minimal patient awareness of the monitoring procedure, with personalised designs, e.g. cartoon themes, favoured. Children's concerns included possible allergy and potential inaccuracies with this novel approach; however, many had confidence in the judgement of healthcare professionals if deeming this technique appropriate. They considered paediatric patient education critical for acceptance of this new approach and called for an alternative name, without any reference to 'needles'.

Conclusions: The findings presented here support the development of blood-free, minimally invasive techniques and provide an initial indication of microneedle acceptability in children, particularly for monitoring purposes. A proactive response to these unique insights should enable microneedle array design to better meet the needs of this end-user group. Further work in this area is recommended to ascertain the perspectives of a purposive sample of children with chronic conditions who require regular monitoring. © 2013 Royal Pharmaceutical Society.

Voir Hitler en peinture

Voir Hitler en peinture / On Seeing a painting of Hitler
The article “Voir Hitler en peinture” (literally “On Seeing a painting of Hitler”) focuses on a painting by Oliver Jeffers entitled “Ginger Hitler”. This article suggests that, whatever Jeffers’ intent and inspiration were, his painting “defamiliarizes” Hitler (V. Shklovsky) and forces us to look at him afresh. For decades, Hitler has been demonised and dehumanised; yet, however unsettling this may be, he was human. As Professor Richard Evans, a leading expert in the history of Nazism, put it recently: “Viewing Hitler as a human being, which he undoubtedly was, is more challenging to our understanding, surely, than simply writing him off as a cartoon villain” (The Guardian, 30/04/2015).

Children's television: the soft underbelly of public service broadcasting

The provision of children's content should be a key constituent of the public service brand, but has often been viewed as a programme category at risk. Certainly in many countries children's television has moved from the 'scarcity' associated with terrestrial provision, to the 'plenty' of digital (see Ellis 2000). However in spite of a range of dedicated public service children's channels in Europe (CBeebies, Kika, Z@ppelin), domestically produced children's television in Europe is notoriously under-resourced if not marginalised. There is a pronounced reliance on imports (particularly on commercial television) notwithstanding the launch by US-owned multinationals (Disney, Nickelodeon, Cartoon Network) of localised versions of their children's television channels in many European countries. Within the broader context of global developments in children's media, this paper starts by outlining the recent and rapid crisis in British children's television and the factors that caused it. This was a crisis, which caught broadcasters and producers by surprise in the middle of 2006, but reflects many of the challenges faced by the children's television sector in other countries. It clearly demonstrated how a combination of the lack of regulatory protection, a change in commercial priorities among broadcasters, advertising restrictions, budgetary pressures and the competitive environment at home and abroad all combined to reinforce the trend towards a contraction of domestic production. The crisis also served to underline the dominance of the BBC - both as a representative of public service principles, and as the dominant producer and commissioner in the market. With the reasons underpinning the crisis explained, the paper will then analyse how the children's television community responded to the crisis and with what effect. Based on interviews, contemporary accounts and documentary evidence the paper will chart the converging and diverging views of broadcasters, producers, regulatory authority Ofcom, and a range of advocacy groups which represent children's interests and the industry. What arguments were elaborated in favour of protecting children's television as an integral part of the public service media brand? Can lessons be learned about how best to ensure the origination of children's media within a public service environment? Can developments in the UK be used to provide insight into how children's media might develop further?