970 resultados para memories


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Reflexivity involves turning one’s reflexive gaze on discourse—turning language back on itself to see the work it does in constituting the world. The subject/researcher sees simultaneously the object of her or his gaze and the means by which the object (which may include oneself as subject) is being constituted. The consciousness of self that reflexive writing sometimes entails may be seen to slip inadvertently into constituting the very (real) self that seems to contradict a focus on the constitutive power of discourse. This article explores this site of slippage and of ambivalence. In a collective biography on the topic of reflexivity, the authors tell and write stories about reflexivity and in a doubled reflexive arc, examine themselves at work during the workshop. Examining their own memories and reflexive practices, they explore this place of slippage and provide theoretical and practical insight into "what is going on" in reflexive research and writing.

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In this article five women explore (female) embodiment in academic work in current workplaces. In a week-long collective biography workshop they produced written memories of themselves in their various workplaces and memories of themselves as children and as students. These memories then became the texts out of which the analysis was generated. The authors examine the constitutive and seductive effects of neoliberal discourses and practices, and in particular, the assembling of academic bodies as particular kinds of working bodies. They use the concept of chiasma, or crossing over, to trouble some aspects of binary thinking about bodies and about the relations between bodies and discourses. They examine the way that we simultaneously resist and appropriate, and are seduced by and appropriated within, neoliberal discourses and practices.

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Two studies examined children's confidence judgments in the accuracy of their memories after repeated experience of an event. Children aged 5 to 6 years took part in an event once or four times, were provided with misinformation either shortly after (Study 1) or a while after (Study 2), and interviewed with yes/no recognition questions 3 months later. Children in the repeated-experience conditions were highly confident of their accurate responses to questions about items that were identical rather than variable across occurrences, and this discrimination was best at the shorter delay. The results show that children were able to metacognitively monitor the accuracy of their responses to qualitatively different kinds of details, and indicate that age is not the only determinant of metacognitive awareness after being misled. Rather, the nature of event representations must also be considered.

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In order to explicate Murakami's version of the official culture, I have analyzed the novel with the works of several different theorists. Primarily, I drew my own understanding of the official culture from Raymond Williams's examination of culture in Marxism and Literature. His terminology became helpful in writing about the operation of the System and the Town, though it did not define that operation precisely. Williams's work also introduced me to the theory behind the official culture's manipulation and exclusion of historical aspects in order to create their "official" version of history, from which the official culture draws its identity. For further analysis of the treatment of history, I turned to Friedrich Nietzsche's On the Advantage and Disadvantage of History for Life. Though it examines the official culture's manipulation of history in a much more in-depth manner, it seems to have influenced Murakami's treatment of individual memories and cultural histories. For instance, the herd ofunicoms in the End of the World resembles Nietzsche's description of the ''unhistorical herd," or has the potential to resemble it. With these theories I was able to access the mechanisms of cultural control that Murakami depicts in the form of the System and the Town, and from there I was able to develop a model for how the narrator struggles to subvert that control. Both sides of that struggle are depicted and re-imagined many times throughout Hard-Boiled Wonderland and the End of the World.

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Lewis "Ludy" Levine was born on November 30, 1898 and died on September 30, 1997. This scrapbook includes family memories, obituaries, a eulogy by Rabbi Krinsky, autograph notebooks and lists, a few letters, and many photographs.

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Theodore Nathan Levine was born into the family of Sarah Ida and William Levine in 1894 and died on February 9, 1927. The scrapbook contains family memories as handed down, letters, photographs, holograph high school notebooks and a paper on Books and Libraries.

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Betty Ruth Levine was born on April 30, 1903 to Sarah Ida and William Levine. She died November 8, 1995. The scrapbook includes family memories and photographs.

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Ann (Anna Eva) Levine was born on November 12, 1890 to William and Sarah Ida Levine, and died on April 3, 1890. This scrapbook contains family memories, photographs, and an exam book in holograph for a history class in 1936 at Colby College.

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Dorothy "Bibby" Adair Levine was born to William and Sarah Ida Levine on April 16, 1916 and died December 31, 2005. The scrapbook contains family memories, eulogy, newspaper clippings, photographs, and announcement of the birth of her son Michael.

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Evelyn Mae Levine was born April 11, 1907 and died on February 6, 1957. She was one of the children born to William and Sarah Levine. The scrapbook includes photographs, family memories, negative copies of grade sheets from Coburn Classical Instituteand Emerson College.

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Frieda Levine Miller was born to William and Sarah Ida Levine on March 26, 1896 and died August 24, 1990. The scrapbook contains family memories, death certificate, eulogies, newspaper clippings, family photographs, a high school graduation program, letters, and announcement of the marriage of her daughter Glenyce.

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This scrapbook contains photographs and family memories of the big Levine family house on Ticonic Street, of the Levine family "camp," of going to temple, and of various members of the family.

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In this paper we will draw on research conducted for the AFL which, in part, illuminated aspects of the Faustian pact that many young men enter into in order to become an elite level, professional footballer in what is increasingly a global sports entertainment industry. In order to develop an identity as an AFL footballer these young men willingly sell their body, mind and soul to one club, or to many. For varying lengths of time these pacts can have significant payoffs - in terms of a sense of self, and in monetary terms. For many though, these payoffs are limited and must be accounted for sometime in the future - an accounting that in Faustian terms, can carry significant costs to the body, mind and soul long after the cheering has stopped, and when the benefits come mainly in the form of memories. In this paper we argue that elements of these pacts can be identified and analysed via the following: understanding AFL as a sports entertainment business; using Foucault's work on the care of the self to explore what it means to be an elite level professional and the demands made by others on the body, mind and soul of players; and the idea that a career as an elite level professional footballer has a number of phases (early, mid and late) in which the nature of a professional identity - shaped by different demands on the body, mind and soul- changes.

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This paper examines the significance of space in the experience, stories and memories of loss and grief. While for many religions the earth is an important element in rituals around birth, death and burial, in increasingly secular and multi-cultural societies, church and public cemeteries are no longer the dominant sacred sites, nor is religion the only way of defining ‘spirituality’. The paper describes shifts in religious and secular practices in dealing with loss and grief, presents case studies of traditional and contemporary frameworks in which ritual, storytelling and space are important elements of meaning making processes, and invites further examination of the ways in which artmaking restores a sense of control and meaning after the experience of loss.

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What is my dance now? My body is saturated with images and details. My choreography has become an exorcism of ghosts of “opening-nights past” as I dance out memories and events inscribed on my body. A chorus of my other selves now accompanies my stage performance, live and virtual, real and imagined, past and present.