Changes In Depiction Research Articles

An exploratory study on the 10-year dynamic changes of mental health policy development and media stigma reporting in China (2011-2020).

China has introduced a large number of national mental health policies over the past decade. However, few studies have touched on what changes the policies brought to the media. This study aimed to investigate the relationship between stigma reports, classifications of mental disorders (SMI: severe mental illness vs. CMD: common mental disorders) and sources of information (mental health professionals vs. non-mental health professionals) from 2011 to 2020 in China Daily, an established official media of China. This study consists of policy review and media review. The policy review reviewed the media management content in Chinese national plans, policies, and laws on mental health from 2011 to 2020. China Daily news articles reporting mental illness-related topics were included in this study as the media material. After a two-step review, the eligible news articles were coded with a structured codebook. The proportion and frequency of stigma depiction of mental disorders, classifications of mental disorders and source of information were counted by year. Chi-test was undertaken to determine the relationship between stigma reports and different classifications of mental disorders and sources of information. An exploratory analysis was conducted to explore the changes in depiction around time points of policy publications. The number of anti-stigmatizing articles increased significantly from 2011 to 2020. There is a statistical difference in the proportion of stigmatizing codes between articles featuring SMI and CMD (χ2 = 44.56, p < .001) and different sources of information (χ2 = 78.49, p < .001). And the statistical difference remained over the decade. The results of the research indicate that the media may have alleviated the problem of stigma. But the subtle stigmatization still exists, which needs joint efforts of the government and media.

Patriarchal Traces in Japanese Girls’ Fiction: Beyond the Loss of the Father to Patriarchal Mothers and Resistant Daughters

As World War II ended and a new democratic society was beginning in Japan, significant changes were made to the patriarchal system, changes such as the recognition of women’s rights and the dismantling of the Japanese family system which in turn affected youth culture. Against this backdrop, particularly within the genre of shōjo shōsetsu (girls’ fiction), new representations of the father, mother and shōjo (girl) emerged. Portrayals reflected not only the loss of power experienced by patriarchal figures after the defeat, but also the rise of new patriarchal mothers and resistant daughters. This article traces how changes in depictions of patriarchal authority in the genre reflect not only masculine humiliation around the war defeat, but also a contemporaneous rise in mothers whose intervention in their daughters’ life decisions saw an increase in less compliant daughters. It demonstrates how, although post-war shōjo fiction was founded on the loss of the autocratic patriarch and has since struggled to depict a more co-operative family man, as reflected through the genre, the loss of the father figure also helped sow the seeds of new forms of womanhood, and of girlish resistance and independence. These elements reveal a continued fight for democratic freedoms in post-war Japan.

Changes in Depiction of Race and Ethnicity in Japanese Junior High School English Textbooks:

Changes in Depiction of Race and Ethnicity in Japanese Junior High School English Textbooks:

Feministyczna krytyka kulturowych przedstawień ról genderowych

W założeniu artykuł ma przybliżyć zagadnienie, jakim jest krytyka kulturowych ról genderowych z perspektywy feministycznej. Autorka przedstawia w nim przemiany kulturowego obrazu kobiety na przestrzeni wieków oraz wpływ ruchów kobiecych na jego zmianę.

Depiction of Lenin and Stalin in Estonian Art as an Indicator of Shifts in the Soviet Authoritative Discourse

The paper provides an analysis of changes in depiction of Soviet leaders by Estonian artistsduring the period of Soviet occupation of Estonia. More specifically, changes in theiconography of Lenin and Stalin are viewed in light of Alexei Yurchak’s concept ofperformative shift of the Soviet authoritative discourse.&#x0D; During the over 40-year period of Soviet occupation conventions of depicting Leninand Stalin underwent several notable changes that more or less reflected shifts in the Sovietpolitics as well as the developments in Estonian arts. The paper argues that changes in thedepiction of the leaders amounted to the fundamental meaning and message of these works ofart. Especially from the end of the 1960s, an increasingly playful and ironic undertoneprevailed.&#x0D; In using the depictions of the Soviet leaders in Estonian art to test the aforementionedtheoretical constructions, the paper however concludes that changes in the official discoursein Estonian arts did not wholly conform to the performative shift as described by Yurchak.

Women in ‘African cinema’ and ‘Nollywood films’: A shift in cinematic regimes

Abstract There have been dramatic changes in depictions of women from the feminist perspectives in the first decades of postcolonial sub-Saharan African celluloid cinema (1960s–80s), to women in a global digital era (1990s–present). A classic example of African celluloid cinema, its style and political gravitas, can be seen in Jean-Marie Teno’s latest film, Une feuille dans le vent (2013). Though it appeared in the digital period, and may technically be digital, stylistically and thematically it bears all the hallmarks of ‘FESPACO cinema’. Conversely, the work of Tunde Kelani, one of the stalwarts of Nollywood video film, falls under the rubric of ‘African video film’, often dubbed ‘Nollywood’. To understand what the shift from ‘serious African cinema’ to Nollywood has meant for women and feminism in African cinema, I will elaborate on Butler and Athanasiou’s notion of dispossession in considering Teno’s ‘celluloid’ Feuille and Frank Arase’s digital Beyonce (2006). I hope to bridge issues of early African feminism that focused on representation to those now framed in terms of genre cinema.

The New Iconography of Christ and the Changes in Depiction of the Jews in High and Late Middle Ages

Major changes in the Christian piety of High Middle Ages are not reflected only in the humanizing tendencies in the representation of the Saviour Jesus Christ, rendered as Man of Sorrows or Ecce Homo, but directly or indirectly influenced a wide range of new iconographic subjects. One of the specific issues within the context of great number of changes that actually shook the whole Europe certainly is the relation to the mother religion – Judaism and its living representatives – contemporary Jews. The article sets out the inversely proportioned relation between the two topics: with the humanization of Jesus Christ rises the estrangement from the Jews.

MR-sialography as functional separate imaging of salivary gland for evaluation of radiation-induced xerostomia

16522 Background: For head and neck cancer (HNC) patients who receive curative irradiation (RT), RT-induced xerostomia is a frequent and troublesome adverse event diminishing quality of life. In this prospectve study, morphological changes in salivary glands were evaluated by means of MR volume calculation and examination of the functional changes in MR-sialography as compared with subjective symptoms. Materials and Methods: Sixteen HNC patients (15 squamous cell carcinomas and 1 lymphoma) scheduled to receive more than 44 Gy to the primary tumor were registered (median dose to salivary glands: 60 Gy). MRI was performed prior to start of RT (pre-RT), as well as 2–4 weeks after completion of RT (post-RT). Evaluations were undertaken as follows: 1) Subjective symptoms of oral dry sensation were scaled by visual analogue scale (pre-RT VAS, post-RT VAS); 2) Changes in depictions of MR-sialography (heavy T2WI) following tartaric acid stimulation were graded into three categories (good,fair, poor); and, 3) Changes in salivary gland volume were measured as reduction ratio(%) = (pre-RT volume - post -RT volume) / pre-RT volume × 100. Results: Post-RT VAS of oral dry sensation was greater than that of pre-RT (p=0.001). Clinical symptoms (changes in VAS) did not correlate with salivary gland reduction ratio nor radiation dosage for either the parotid (PG) or submandibular glands (SG). RT dosage and reduction ratio correlated well (r=0.62). Reactivity of MR-sialography stimulated by tartaric acid became poor after RT. The mean RT dosages to PG and SG of the poor group were higher than those of the good group (p&lt;0.05). Conclusions: MR-sialography after RT showed a poor response to secretion stimulation, which correlated with RT dosage. Moreover, MR- sialography with secretion stimulation may have the potential to be a non-invasive and sensitive method by which to assess the severity of xerostomia of each gland separately as ‘functional MR - sialography‘. More cases and longer follow up, and dose-volume histogram evaluation of each salivary gland are required to confirm the results. No significant financial relationships to disclose.

Picturing Christian Witness: New Testament Images of Disciples in Mission (review)

Reviewed by: Picturing Christian Witness: New Testament Images of Disciples in Mission Paul Foster Stanley H. Skreslet . 2006. Picturing Christian Witness: New Testament Images of Disciples in Mission. Grand Rapids, Michigan: Eerdmans, pp. xv + 263, Pb, £11.05 Conceptualising an understanding of mission is not a straightforward task. Skreslet assesses the way in which both the text of the New Testament and various images, both visual and non-visual, function to shape such an understanding. Yet the relationship between the New Testament and mission is not linear, nor is the text the generative seed for mission. Asis noted, 'the New Testament can be seen as a product of mission, but,at the same time, we can appreciate how it has served the church as the pre-eminent means of Christian witness over the past two millennia'(p. 21). In this sense the written record of the first generations of the Jesus movement is in large part a stylised 'history' of the expansion of Christianity. Thus, while the text may not strictly be formative of the missionising endeavour, it has become normative and allowed creative reflection on the meaning and forms of mission in successive generations. As a taxonomy, Skreslet organises the various images of the disciples involved in mission into five categories. The first looks at those portrayals where they are characterised as heralds sent be an authoritative ruler. Imitation of Jesus' own proclamatory activities is a key feature of this type of image and itinerancy is a hallmark of this understanding of mission (pp. 38–9). Skreslet notes that the initial image of 'fishing for people' 'largely failed to catch on in the early church as a living metaphor' (p. 40). Instead, he argues, the related image of casting-nets was more attractive since it spoke of a great ingathering. However, for those involved in this model of [End Page 96] missionary activity a decisive break with one's own past was necessary: leaving nets and not putting the hand back to the plough reveal that there was a need to renounce the former way of life. Here the discussion looks at the reception of this model by analysing works of art that have reflected upon the original New Testament stories of 'announcing good news'. The images of the Preaching of Peter by Masolino or Paul before Agrippa by Linton (among other images) are discussed in order to show the manner in which the New Testament model is modified or even enriched to incorporate other complexities that make the act of proclaiming the good news an ongoing viable pattern for contemporary believers. The next chapter considers the pattern of missionising that is characterised as 'sharing Christ with friends' (pp. 79–117). It is noted that this model involves an entirely different social-setting and a new realm of discourse. Here stories of personal introduction to Jesus by friends form the bedrock of this model. Philip's summons to Nathanael to meet Jesus is a prime example (Jn 1.45). Skreslet sees this pattern reflected most fully in Johannine stories of disciple-making. Jesus' own encounter with the Samaritan women, also depicted by T'oros of Taron, is used to highlight this category (pp. 88–98). In the later portrayal of such stories in art, Skreslet notes the changes in depictions of social situations and theway the posture of the various hearers are characterised. The final three categories employed are 'interpreting the gospel', 'shepherding' and 'building and planting'. Following the pattern developed in earlier sections, Skreslet discusses key New Testament texts and their re-interpretation in later artistic representations. In the concluding chapter the practical aim of the volume is highlighted. Skreslet states, 'my intention has been to discover a fresh wayfor the New Testament to inform contemporary thinking about mission theology by stimulating the renewal of mission imagery' (p. 227). Although only time will show whether this larger goal is achieved, it is nonetheless possible to state that Skreslet has conceived of a new approach by not only utilising the five organising categories, but by employing images from various artistic media to highlight how these categories have been modified throughout the course of the development of Christian reflection on...

Spreading the Word, but What Word is That? Viagra and Male Sexuality in Popular Culture

Viagra was released in 1998 and, as Abraham Morgentaler so aptly wrote in his book The Viagra Myth (2003), ‘the world has not been the same since’. Representations of Viagra appeared in a variety of popular cultural and media texts and participated in the ‘craze’ known as ‘Viagramania’. Drawing on, and extending the work of Meika Loe, The Rise of Viagra (2004) in the United States, we explore some of the changes in depictions of Viagra and masculine sexualities in the New Zealand context under the framings: ‘Viagra-as-Joke’, ‘Legitimate Viagra’ (which includes ‘Romance Drug Viagra’ and ‘Masculinity Pill Viagra’), and ‘Party Pill Viagra’. We suggest that changes in popular portrayals of Viagra from 1998 to the present, as well as a decrease in the range of popular genres/forms in which Viagra appears, contribute to a narrowing in discourses of masculine sexuality in which the emphasis is increasingly on penile performance and enhancement.

Images of African Americans in Southern Painting, 1840-1940

The paintings featured here are from the private collections of A. Everette James and Nancy Farmer and are frequently on view at the University of North Carolina and other locations throughout the Southeast, From the 1840s through World War II, paintings by artists working in the South for the most part mirrored images fashioned throughout America. These paintings were different from those created in other parts of the country, however, in that they reflected the southern sense of place and the intimacy of black and white relationships in the region. From the mid-nineteenth century through Reconstruction, southern paintings by white artists showed African Americans as largely dehumanized caricatures, black stereotypes rather than distinct individuals. Skin color appeared coal black; lips were thick and red, supported by protruding, overly large teeth. The contrived and exaggerated physical features, poor quality of clothing, and subservient activities of the African American subjects clearly cast them as outside or beneath the dominant, white social order. Sambo, Top Hat, Zip Coon, and other stock figures, often from the minstrel tradition and imposed upon African Americans by whites, were popular subjects for white artists working in the South during this time period. These restrictive, demeaning stereotypes relegated African Americans to inferior roles and served to justify white denial of their humanity. In the early years following the Civil War, changes in depictions of African Americans in paintings by white artists working in the South reflected to some extent the massive social upheaval that followed in the war's wake. By the mid 1870s, however, as Reconstruction drew to a close, an idealized nostalgia for the prewar relationship between the races, as whites chose to remember it, began to appear more frequently. Perhaps this was in response to the hardships and frustrations brought about by the unanticipated complexity of Reconstruction. The images from this period selectively depicted the era before the Civil War as a time of harmony and tranquility between whites and blacks. Although this characterization is, to say the least, not entirely accurate, in some memories it rang true and became a popular myth in the South as well as to a lesser extent in the rest of the country. Memory is unintentionally selective, and white southern artists gave certain symbolic relationships--Mammy and her white charges, for example--more prominence than they deserved in representing the social relationships between the races. Artists painting in the South presented a meticulous but one-sided image of African American life after the Civil War. Despite the postwar nostalgia for the good ole days, Charleston-born William Aiken Walker's numerous portrayals of black carpetbaggers were much sought after, and his rare larger nostalgic images were equally as popular among whites in both the North and South. (His larger depictions of plantation life still fetch vast sums from museums and collectors despite their simplistic and inaccurate portrayal of African American life.) Portrayals of African Americans in southern art remained nostalgic, rural, and frequently demeaning from Reconstruction until the rapid sweep of urbanization and migration of African Americans to the North in the first quarter of the twentieth century. The changes to the U.S. social structure wrought by this shift from an agrarian base to an industrial, urban life improved the status of African Americans. Images of African Americans in paintings gradually evolved to reflect these changes and came to affect their portrayal in areas of the deep South as well. White artists sometimes dignified African Americans in southern paintings with a clear individuality, and their physical characteristics were not nearly as exaggerated and demeaning as they had been in the middle-to-late nineteenth century. These images far more accurately represented African American culture and society than the paintings executed during the period immediately following the Civil War and during Reconstruction. …

Changing ecological concerns in rock-art subject matter of north Australia's Keep River region

The Keep River region has a complex body of engraved and painted rock-art, distinct from but with links to regions to the east, west and south. At least four major periods of figurative rock-art have been identified with differing subject matters and ages. Significant changes in depictions of human figures and animals are evident, reflecting shifts in emphasis associated with ecological concerns and environmental change. We flesh out the relative rock-art chronology by highlighting these changes, from worlds dominated by humans to those dominated by mammals and birds, and finally to a recent world of reptiles and humans. Symbolic aspects of the imagery are also considered within a larger ecological approach.