Family Pictures Research Articles

The Language of Vision: Photography and Southern Literature in the 1930s and After by Joseph R. Millichap

Reviewed by: The Language of Vision: Photography and Southern Literature in the 1930s and After by Joseph R. Millichap Bridget Smith Pieschel The Language of Vision: Photography and Southern Literature in the 1930s and After, by Joseph R. Millichap. Baton Rouge: Louisiana State University Press, 2016. 163 pp. preface, notes, bibliography, index. $40 hardcover. Joseph R. Millichap’s The Language of Vision takes its title from Walker Evans’s essay “Photography”: “The meaning of quality in photography’s best pictures lies written in the language of vision” (ix). Millichap’s insightful chronological analysis of the interrelation between southern photography and southern literature provides a new lens through which to view southern writers who have used the “complementary languages of photography and literature” in artistic conversation (xiii). The first chapter is an overview of the earliest southern photography collections, with an astute discussion of the connection between southern photography and southern literary themes of death, nostalgia, and loss, Millichap selects representative artists for chapters two through seven, concluding in the current century. Some readers will be disappointed to discover that this book is not illustrated with any of the discussed photographs. However, Millichap explains that securing rights to so many photographs was expensive, as was the prohibitive cost of printing an illustrated book. Instead Millichap is careful to provide references to where the photographs may be viewed electronically. As a result, the reader has access not only to the photographs he analyzes, but to others by the same artists. He begins his analysis with a Depression-era collaboration: Walker Evans and James Agee’s iconic Let Us Now Praise Famous Men. Millichap asserts that this work specifically illustrates the intertextuality of genres and the value of like minds. Millichap says that the men had very different artistic visions, but that “the pair complemented each other almost perfectly in personality and practice, so much so that each could accept the other’s vision and integrate it with his own” (30). This chapter explores the differences between the first edition and the second edition, which includes twice as many of Evans’s photographs. Millichap asserts that these differences result from Agee’s initial confusion [End Page 297] about doing the photographic narrative justice, while attempting to write an unconnected narrative of his own. Millichap explains that this tension resulted in a first edition which is “spatial” because of Evans’s “family album” organization of the photographs, but that the 1960 text is “narrative” or chronological, because Evans has the family pictures contextualized within settings—towns, hamlets, houses, and barns (34). The chapter on William Faulkner focuses on Pylon, The Wild Palms, and Go Down, Moses, which Millichap asserts are “less often considered” within “the informing dialectic of cultural representation” he describes in his first chapter (45). Instead, Millichap says these novels illustrate Faulkner’s “complicated balance between subjective modernism and documentary realism” (46). In a close analysis of the photographic tropes Faulkner uses, Millichap references the influential publication of WPA photographs which Faulkner would have seen and appreciated for their realism. Next, Millichap addresses Robert Penn Warren’s short fiction, novels, and poetry. His scrutiny of Warren is particularly rich and comprehensive. For example, he analyzes the literal and figurative presence of photography through the eyes of a reporter in Warren’s All the King’s Men. Willie Stark, the demagogue who is always in the glare of news reporters’ flash bulbs, stages “domestic images” to shape a populist persona (75). In A Place to Come To, Millichap points out that Warren’s narrator directly references Walker Evans’s Depression-era photographs of poor southerners. Millichap states that in this later novel, photography is both literal and metaphorical, and in both cases directly shapes plot and theme. The two chapters on Eudora Welty and Ralph Ellison are very thoughtful. Millichap examines Welty’s actual photographs taken during her work as a WPA writer, suggesting that Welty distanced herself from the WPA official photographers, who were chiefly northern white males. According to Millichap, Welty’s photographs are “cultural documents” illustrating the “conflicted binaries of gender, race and class” (89). Millichap also skillfully addresses photographic tropes as “modernist intertextualities” in...

“Cavação” and domestic cinema: ruptures and continuities in family pictures

Imagens de cunho familiar são projetadas em tela grande desde os primórdios do cinema. No Brasil, a família burguesa ocupou um lugar de destaque no universo das representações cinematográficas ainda nos primeiros anos do século XX, quando os cineastas cavadores se dedicaram a registrar em película diferentes rituais e celebrações da elite nacional. No entanto, foi a partir da década de 1920, com o desenvolvimento da tecnologia voltada exclusivamente para a produção amadora, que as cenas da vida privada e doméstica passaram para a película capturadas pelo próprio clã familiar. Neste artigo propomos investigar as possíveis relações e as diferentes representações familiares geradas pela cavação dos anos 1910 e pelo cinema doméstico dos anos 1920 e 1930.

Image Acquisition and Techniques to Perform Image Acquisition

In the present scenario images have become the most suitable way to keep our past alive. Nowadays people are very busy in earning their livelihood and day to day life, even though they want to keep their golden moment alive for the rest of life. Images have touched almost all the fields like medical, sports, social networking and many more. It is the need of time to know how the images are being captured and stored into memory. To deal with images and before analyzing them the most important thing is to capture the image. This is called as Image Acquisition. Image Acquisition is achieved by suitable camera. We use different cameras for different application. If we need an X-Ray image, we use a camera (film) which is sensitive to XRays. If we want Infra Red image, we use cameras which are sensitive to Infra Red radiations. For normal images (family pictures etc.) we use cameras which are sensitive to visual spectrum.

Cat Food in Camelot: Animal Hoarding, Reality Media, and Grey Gardens

GREY GARDENS (1975) records the daily life of Edith Bouvier Beale and her daughter Edie, two formerly wealthy socialites long fallen from prominence, surrounded by the squalor of their once elegant mansion in East Hampton, Long Island. The film shows the two women, who are the aunt and cousin of Jacqueline Kennedy Onassis, sunbathing, sorting through family pictures, eating ice cream in bed, and performing song and dance numbers, even as their house crumbles around them and cats walk, scratch, eat, and sleep on every surface. Directors Albert and David Maysles, who had achieved success with their previous documentaries, including Salesman (1968) and Gimme Shelter (1970), were at once praised for their innovative filmmaking and criticized for their exploitation of two vulnerable women (Arnold; Canby; Goodman).Although the film has remained a cult favorite and has been celebrated as a significant example of the direct cinema style that the Maysles brothers were in the process of establishing, it has recently enjoyed newfound popularity. In 2005 Lillian Greenfield-Sanders released Ghosts of Grey Gardens (2005), a documentary about the making of the film and its influence on various artists. A musical titled Grey Gardens, with book by Doug Wright, music by Scott Frankel, and lyrics by Michael Korie, premiered off-Broadway in 2006 and moved on to a successful Broadway run. An HBO film, written and directed by Michael Sucsy and starring Jessica Lange and Drew Barrymore, was released in 2009. Lois Wright, the Beales' neighbor at the time the film was made, released a book in 2007 titled My Life at Grey Gardens: 13 Months and Beyond. In 2006, David Maysles contributed to the renewed cultural interest in the Beales by releasing outtakes from the original film under the title The Beales of Gray Gardens (released on DVD in 2001 by Criterion along with the original documentary as part of a two-disc set). One would expect that in an era of reality television and YouTube, the direct cinema footage of the 1970s would seem quaint or tame. We now have plenty of fallen celebrities to choose from, and gossip about the Bouviers is at least a generation out of date.This article argues that the recent upswing in the film's popularity derives from its uniquely powerful illustration of the relationship between celebrity and abjection, which is also a preoccupation of reality television. The film investigates how the cinematic idealization of the body is intimately linked to its vulnerability to dirt, illness, and age. Current popular culture often addresses the bodily distortions underlying media celebrity. The various cosmetic technologies through which the body can be transformed are both exposed and celebrated in reality makeover shows such as Extreme Makeover, What Not to Wear, and The Swan. Gamedocs such as Fear Factor and Jackass establish an equation between celebrity and bodily violation or soiling, and self-improvement shows such as The Biggest Loser equate success with arduous and humiliating public exposure. Crime shows such as Cops present relatively little physical violence but plenty of sweat-soaked shirts and unshaven faces, as do work-focused reality shows such as Deadliest Catch and Dirty Jobs. Docusoaps such as The Real World and Jersey Shore give viewers access to many, if not all, of the bodily functions of their participants. The conflation between celebrity and abjection is most explicitly apparent in A&E's Hoarders and TLC's Hoarding: Buried Alive, which combine the scientific documentary and the renovation show, following psychologists and social workers into homes piled high with garbage, ruined possessions, and rotten food.Derek Kompare identifies as the operative mode of reality television, in which participants appear exhausted, enraged, careless, undressed, asleep, inebriated and sick (106). With the arguable exception of enraged and depressed, all of these forms of ignominy involve physical weakness made visible, and the celebrity that participants achieve in reality shows is intimately linked to the display of this physical weakness. …

Efficacy and Safety of Ashwagandha (Withania somnifera (L.) Dunal) Root Extract in Improving Memory and Cognitive Functions

ABSTRACTObjectives: Cognitive decline is often associated with the aging process. Ashwagandha (Withania somnifera (L.) Dunal) has long been used in the traditional Ayurvedic system of medicine to enhance memory and improve cognition. Aim: This pilot study was designed to evaluate the efficacy and safety of ashwagandha (Withania somnifera (L.) Dunal) in improving memory and cognitive functioning in adults with mild cognitive impairment (MCI). Methods: A prospective, randomized, double-blind, placebo-controlled study was conducted in 50 adults. Subjects were treated with either ashwagandha-root extract (300 mg twice daily) or placebo for eight weeks. Results: After eight weeks of study, the ashwagandha treatment group demonstrated significant improvements compared with the placebo group in both immediate and general memory, as evidenced by Wechsler Memory Scale III subtest scores for logical memory I (p = 0.007), verbal paired associates I (p = 0.042), faces I (p = 0.020), family pictures I (p = 0.006), logical memory II (p = 0.006), verbal paired associates II (p = 0.031), faces II (p = 0.014), and family pictures II (p = 0.006). The treatment group also demonstrated significantly greater improvement in executive function, sustained attention, and information-processing speed as indicated by scores on the Eriksen Flanker task (p = 0.002), Wisconsin Card Sort test (p = 0.014), Trail-Making test part A (p = 0.006), and the Mackworth Clock test (p = 0.009). Conclusions: Ashwagandha may be effective in enhancing both immediate and general memory in people with MCI as well as improving executive function, attention, and information processing speed.

Arqueología de la ausencia de Lucila Quieto. Un viaje hacia la imagen imposible = Archaeology of absence of Lucila Quieto: a trip to the impossible image

From the nineties on many artists work on the recovery of «small memories», the most personal memory, related to the revisitation of traumatic moments. Their works of art, which have been created in a past that continues to lack closure, act in the present of the spectators as a collective mourning mechanism, as well as an effective weapon for political action. Thus, the art moves and makes you move. This study analyses those movements and the starting point is the Archaeology of Absence by the Argentine artist Lucila Quieto, created with family pictures of the «desaparecidos» during the Argentina’s dictatorship. So, I will use the metaphor of the journey: a journey that starts in the private sphere with the desire to recuperate an absence in the family album, continues to create the image able to supply this absence in an impossible place and space and ends with the return that affects the spectator as an object of the esthetic experience in his present and as a instrument of political action in the future.

Cognitive function, depressive symptoms, function level, and quality of life in mild dementia and amnestic-mild cognitive impairment

The present study aimed to investigate the relationship among neurocognitive variables, depressive symptoms, functional activities, and the quality of life (QoL) in patients with mild dementia and single-domain amnestic mild cognitive impairment (a-MCI). Materials and Methods: Thirty-seven mild dementia patients and thirty a-MCI participants were recruited. All subjects participated in a series of neuropsychological measures (Cognitive Abilities Screening Instrument, family pictures, and digit span), geriatric depression scale‑15 (GDS-15), activities of daily living (ADL), The Lawton instrumental ADL scale (IADL) and QoL‑Alzheimer’s disease. Results: Multiple regression analysis revealed that only depressive symptoms was a predictor for the QoL in mild dementia (β= -0.56, P ＜ 0.001). In contrast, all variables were not associated with the QoL in a‑MCI. Mildly demented people scored significantly lower on most aspects of cognitive functioning and reported poorer performances on IADL than a-MCI. There were no significant differences on GDS, ADL, and QoL between the two groups. Conclusion: Findings indicated that depressive symptoms contributed to the QoL in mild dementia. Interventions targeting depressive symptoms in mild dementia may improve their QoL during their early stages of dementia.

Loss and the Durability of Everyday Life in Uwe Timm’s In My Brother’s Shadow and Bobbie Ann Mason’s In Country

Loss and the Durability of Everyday Life in Uwe Timm’s In My Brother’s Shadow and Bobbie Ann Mason’s In Country Gary L. Baker The first-person narrator of Uwe Timm’s In My Brother’s Shadow and Samantha Hughes, the main character in Bobbie Ann Mason’s In Country, encounter life-changing peripeteias long before they reach adulthood. They both focus on young men whom they never knew through direct experience. These men are fallen soldiers and at the age of 19 their deaths are not only violent, but premature and tragic. Upon reaching a resolve to know more about their own lives Timm’s narrator and Samantha Hughes explore the lives of these figures who would have otherwise played a significant role in their lives. The protagonists of these novels investigate Karl-Heinz Timm and Dwayne Hughes through time from the panoptic view of the present. Uwe Timm examines the familial memories and the relics of his significantly older brother killed on the eastern front in October of 1943. Mason depicts an adolescent, born in October 1966 now almost majority age who never knew her father because he was killed in Vietnam one month before her birth. Both protagonists refer to themselves as an “afterthought” (Timm 4; Mason 184). In their own eyes they are low in the family hierarchy. The latency of their willingness to face the past and ask questions leads to processing their familial losses indirectly through the memories and stories of others. Even though these novels are about very different moments in history, different nations, cultures, and acts of war they possess noteworthy similarities. Timm’s book is profoundly autobiographical; he writes about his family. Bobbie Ann Mason’s novel is a work of realistic fiction and set in her native Western Kentucky. Even with these differences both books are motivated by the desire for knowledge about a lost parental figure (Timm’s brother is his godfather and 16 years his elder), the expressed uselessness of history books for this knowledge (Timm 88, and Mason 48 and 187), as well as the centrality of family pictures, letters, and diaries as vestiges of the deceased. Information abounds but it is cryptic and contributes to an obstinate sense of mystery as much as it fills in the picture of who these young men were. Another common feature of these books, besides the focus on loss, is the centrality of everyday life. In My Brother’s Shadow and In Country demonstrate how absence caused by state-mandated violence exerts an enduring presence of a lost [End Page 144] family member on the routines and habits that define daily existence of the novels’ protagonists and their families. These novels articulate a drubbing and tenacious emotional uncertainty due to the persistent presence of the absent person in the memories of others and the emotional voids that they feel. We encounter a paradox in an expression such as the presence of loss, or the presence of an absence, but this paradox affords both narratives the tenor of eulogies situated in everyday living. This essay examines the junctures of daily living and loss in order to reveal the uneasy resonance that manifests itself between the permanence of loss and the durability of practices of everyday life. Timm and Mason make loss visible in the preparation of food, in distractions of reading and watching TV, having parties, in innocuous self-destructive moments of rebellion, earning money, going shopping, and ultimately recognizing the geography of loss whether it is located in the Ukraine or entails visiting the Vietnam War Memorial in Washington D.C. Axiomatic to both stories is the experience of what Marianne Hirsch has called “postmemory” or “the experience of those who grow up dominated by narratives that preceded their birth, whose belated stories are evacuated by the stories of the previous generation shaped by traumatic events that can be neither understood nor recreated” (Hirsch 22). Inherent to Hirsch’s concept is the reality that those remembered, due to dyssynchronous lives, offer the recipients of postmemory no opportunity for a direct emotional or psychological attachment. This central commonality of the novels collapses their vastly different settings into analogous expressions...

A Confirmatory Factor Analytic Study of the Wechsler Memory Scale-III in an Elderly Norwegian Sample

This study compared the factor structure of the translated Wechsler Memory Scale-III (WMS-III), which is the latest available version in Norway, with the original U.S. version. A sample of 122 healthy, elderly Norwegians (mean age: 74; standard deviation = 8.8) completed the WMS-III. The factor structure of the translated WMS-III was tested, using Confirmatory Factor Analysis, with comparison of model fit based on five a priori hypothesized models. Several model fit indices pointed to a three-factor model (working memory, visual memory, and auditory memory) providing the best fit to the data. Our study supports updated findings of the original WMS-III in nonclinical samples and suggests that the translated version is structurally equal to the original. The study supports the cross-cultural validity of the WMS-III. However, based on the present data, one might expect scores on the Family Pictures subtest to fall below scores on other WMS-III subtests in elderly Norwegians.

Ink and Ashes by Valynne E. Maetani (review)

Reviewed by: Ink and Ashes by Valynne E. Maetani Elizabeth Bush Maetani, Valynne E. Ink and Ashes. Tu/Lee & Low, 2015 386p ISBN 978-1-62014-211-0 $19.95 Ad Gr. 7-10 Claire Takata’s memories of her deceased father have dimmed over the last ten years, and although she and her Japanese-American family continue to honor him with an annual ritual, her mother has remarried a good man, Claire and her siblings have adjusted well, and the house is always filled with her brothers’ boisterous friends. About the only thing sixteen-year-old Claire has to complain about is everyone’s overprotectiveness, which annoyingly extends to her parents’ reticence to talk about the past, and her brothers’ conniving to limit her to dating only guys they have pre-approved. Her complacency is disturbed when she discovers some hidden family pictures, which reveal that her father and stepfather knew each other years ago, and by following a paper and Internet trail, she learns that her father had once belonged to a yakuza, a Japanese crime syndicate. When confronted with the facts, her parents confirm her suspicions, but Claire’s investigation alerts one of her father’s victims to her whereabouts, and she is targeted for revenge. The mystery itself is neatly plotted, and although the red herrings reek too strongly at times, the slippery identities of several of the main suspects will keep readers involved. The problem here is tone, which shifts uneasily between Nancy Drew wholesomeness and outright violence, delivered in a narrative style that often sounds outdatedly prim. The romance subplot will lure in some readers beyond the mystery set, and any middle-school girl who thinks there are worse problems than a houseful of attentive, parentally approved boys will also be on board. [End Page 37] Copyright © 2015 The Board of Trustees of the University of Illinois

The brain-derived neurotrophic factor (BDNF) val66met polymorphism differentially affects performance on subscales of the Wechsler Memory Scale - Third Edition (WMS-III).

Single nucleotide polymorphisms in the brain-derived neurotrophic factor (BDNF) gene and the catechol-O-methyltransferase (COMT) gene influence brain structure and function, as well as cognitive abilities. They are most influential in the hippocampus and prefrontal cortex (PFC), respectively. Recall and recognition are forms of memory proposed to have different neural substrates, with recall having a greater dependence on the PFC and hippocampus. This study aimed to determine whether the BDNF val66met or COMT val158met polymorphisms differentially affect recall and recognition, and whether these polymorphisms interact. A sample of 100 healthy adults was assessed on recall and familiarity-based recognition using the Faces and Family Pictures subscales of the Wechsler Memory Scale – Third Edition (WMS-III). COMT genotype did not affect performance on either task. The BDNF polymorphism (i.e., met carriers relative to val homozygotes) was associated with poorer recall ability, while not influencing recognition. Combining subscale scores in memory tests such as the WMS might obscure gene effects. Our results demonstrate the importance of distinguishing between recall and familiarity-based recognition in neurogenetics research.

A Resourceful Woman and a Conversation

A Resourceful Woman and a Conversation Jeff Sharlet (bio) Keywords Jeff SHarlet, Emily Louise Smith, Joe Gould, Mary Mazur emily louise smith: I first encountered “A Resourceful Woman” on Instagram, nestled between selfies and photos of cats. What attracted you to the platform? jeff sharlet: I was sitting in my car in Saratoga Springs, New York, preparing for a long drive across the Green Mountains to my home in Vermont. I was making that drive quite often then, usually at night, helping with a family situation. I was worn out. And I had some writing that was overdue. More conventional writing, a story for GQ, about some really angry men with whom I didn’t want to spend any more time, not even on the page. So I was avoiding a great deal—my emotions, my deadlines—and I went to a comic book store. I’m not a collector, but I read them as a kid, and when I’m really worn out, and don’t know how to write, or how to feel, I buy comic books. The simplicity of the stories helps, sure, but more so the motion—between panels, between pictures and words. I’ve always wanted to make one, but I can’t draw. So I was sitting there in my car, eating a sandwich, reading a comic book—it was an issue of Hellboy by Mike Mignola—and I glanced at my phone and Instagram. I’d just signed up for it, to share family pictures, of course, and I saw all the panels and room for captions, and I thought, I could make my own comic. I made my first essay, later published on Killing the Buddha as “Prayer Hands,” that evening, pulled over on the side of the road. els: You’re part of an emerging community of writers using Instagram for literary journalism. The startling effect of the medium calls to mind flash fiction or prose poetry. Could you talk about working within its unique constraints? js: So far I don’t experience them as constraints. Just the opposite—the format is liberating, for many reasons. First, because I love photographs. I came to this mutant genre of creative nonfiction through Let Us Now Praise Famous Men, by James Agee and Walker Evans. But I’m not a photographer. On Instagram, I don’t have to be. In fact, I get tired of the really polished galleries. I like the snapshottiness of it. That liberates me from some of the anxiety that accompanies writing, too. It feels very low stakes and very high stakes at the same time. Low stakes because I’m not a photographer, and high stakes because it feels vitally important to say something true [End Page 112] with the image. Not about the image, but with it. Instagram transcends the classic divide of the photo-essay, in which text serves image as expository caption, or the illustrated story, in which image serves text as, well, illustration. In the Instagram essay, I think they’re about equal. The block of text, 2,200 characters long, is about the same size and shape as the Instagram square. Neil Shea, a journalist who’s done what I think is some of the best work of his impressive writing life on Instagram, coined the hashtag #killingthenutgraf. A nut graf is the who-what-where-when-why. And they’re maddening. Explaining when you don’t want to explain. On Instagram, there’s not room to. The image is the nut graf. Except there is no “why,” exactly, in a good Instagram essay. Just the picture and the words and the motion between them. els: Reading the essay uninterrupted in print is very different from experiencing it serialized on Instagram. Have format and audience changed how you approach and carry out your work? js: Profoundly. One, because this is my work. A few publishers reached out to me about a book, and although I haven’t yet figured out how I’ll do it, I know I want to. So at the most literal level, yes. And then at the level of the sentence and the paragraph. That small space demands economy...

La constitución de la identidad marginada en Señas de identidad de Juan Goytisolo

La constitución de la identidad marginada en Señas de identidad de Juan Goytisolo

Family images in modern society

In Taiwan, world lowest birth-rate was caused by economic and social environment. Family-friendly policies and benefits from government were conducted in years. The birth-rate, however, were still not raise gradually. Aims of this study were present family images of happiness and challenge from Taiwan and gather voice from parents who lived in this context. Iconology was adopted as the methodology to conduct data collection. Research data were gathered from 50 Taiwanese families which included family pictures and semi-structure interviews. Two main findings were as follow: (1)Most pictures that parents named as ‘happiness moment’ were going out because of the precious moment of ‘being together’. (2)Most challenging moment exited when children were sick or parents’ transition in new parenthood. Policy of ‘home care day off’ in most enterprise is not good enough to support parents. Family friendly policies or systems in Taiwan are either complicated or short term only.

노인요양시설의 스마트 기술 도입에 대한 탐색적 연구 -요양시설 종사자 답변을 중심으로-

본 연구는 노인요양시설에 도입가능한 스마트 기술을 탐색해봄으로 시설입소노인들의 삶의 질 향상을 꾀하기 위해 시도되었다. 조사대상자는 노인요양시설에서 노인의 직 간접적 케어에 종사하는 요양보호사, 사회복지사, 간호사 등을 대상으로 실시되었으며 총 6개의 요양시설에 근무하는 종사자들을 통해 총 127명의 자료가 수집되었다. 수집방법은 설문지를 이용하되 4명의 노인복지전공자들이 스마트기기에 대한 설명을 병행했다. 수집된 자료를 바탕으로 평균 및 표준편차를 통한 요구도를 분석한 결과 스마트 기술을 요양시설에 적용할 경우 가장 유용한 영역으로는 가족관계지원 영역, 건강지원 영역, 여가지원 영역, 물리적환 경적응지원 영역의 순으로 나타났다. 구체적 항목별로는 물리적환경적응지원 영역에서는 시설직원익히기, 특정공간 방향찾기였으며, 건강지원영역에서는 안전센서, 프로그램 알람이, 가족관계 지원영역에서는 가족 사진보기, 자신의 사진/동영상 앨범 활용이, 여가 지원영역에서는 음악듣기, 영화/텔레비젼 시청이 상대적으로 높게 나타났다. 이러한 결과는 응답자의 인구 사회적 특성 및 스마트기기 특성에 따라 다르게 나타났는데, 이를 토대로 향후 연구에서는 노인을 대상으로 스마트 기술에 대한 욕구를 파악함으로 좀 더 심도깊은 연구가 이루어져야 할 것이다. The purpose of this exploratory study is to examine if the application of smart technology(ST) would assist adjustment to the nursing home facilities in the elderly. Since there is not much previous research on this subject, we generated survey questionnaires on our own. Data were collected from the survey of 127 employees at 6 nursing homes including geriatric care workers, social workers and nurses who provide direct as well as indirect care services. Results showed that the utilization of ST would benefit the areas of family relationship support, health support, leisure support, and physical environment adjustment. As for physical environment adjustment, study participants reported that ST would help elders familiarize employees and find directions for specific space the most. As for health support, ST would be best utilized as a security sensor and program alarm system. As for support for family relationship, ST was expected to be utilized as looking at family pictures and playing with self pictures/videos. As for leisure support, ST was expected to assist elders to listen to music and watch movies/TV. These results were different according to the characteristics of the participants and the smartifacts. These results of the study will show the direction for more in-depth studies on application of smart technology for the elderly in the future.

Cuestionario de Fallos de Memoria de la Vida Cotidiana (MFE). Análisis de factores con población española.

One of the most frequently used instruments to study everyday memory failures is the Memory Failures of Everyday Questionnaire (MFE). The objectives of the present study were: a) to examine the factor structure of the MFE, and b) to explore the relationship of the resulting factors with performance in tests of objective memory (Word Lists and Family Pictures of the Wechsler Memory Scale-III) and mood state (Goldberg Depression and Anxiety Scale), as well as with two general questions about memory complaints. Data were collected from a sample of 647 young adults (19-64 years). Factor analysis revealed three factors which explained 29.3 % of the total variance: Activities Recall, Communication Monitoring, and Recognition. The first two factors showed a higher positive correlation between them and a higher association with mood state and general memory complaints. In contrast, the recognition factor shows positive correlation with age and negative with objective memory performance.

동물매개치료를 통한 독서부진 아동의 자아존중감 및 독서증진 효과에 관한 연구

이 연구는 동물매개치료 중에서 'Read to Dogs'를 활용하여 초등학생의 자아존중감 및 독서증진에 실제로 어떤 효과가 있는지 알아보는 데 목적을 두고 있다. 이를 위하여 실행연구, 설문지법, 미술치료기법 중 HTP의 나무그림, KFD의 움직임이 있는 가족그림의 사전, 사후검사를 통하여 비교 분석하였다. 연구 결과 독서보조견을 통한 책읽기 프로그램은 독서부진 아동의 자아존중감 향상에 효과를 미치는 것으로 나타났다. 이러한 결과는 도서관이나 학교 현장에서 독서부진 아동을 위한 프로그램을 개발하고, 운영하는데 유용한 정보로 활용될 수 있을 것이다. This study takes aim at finding how effective the usage of 'Read to Dogs' is for self-respect and reading improvement of elementary school students. For this, this study was compared and analyzed with pretest and posttest using 'tree pictures' of HTP and 'family pictures with motion' of KFD through performing, surveying, and art-therapy treatments. The result of this study showed that reading program using a reading -assistance- dog has a good effect on self-respect of children with reading inactivity. Also, this result will be used as useful information in developing and operating programs for children with reading inactivity in libraries and schools.

Poets, Artists, and Storytellers: Bilingual, Bicultural, and Transnational Narratives

Poets, Artists, and Storytellers:Bilingual, Bicultural, and Transnational Narratives Peggy Semingson (bio) This Letter synthesizes and highlights bilingual and multilingual children's books by U.S. authors that focus on the Latin-American immigrant experience. Trends in picture books by bilingual and multilingual children's authors in the United States over the past two decades focus on the authors' hybrid identities, often drawing upon their own lives in terms of transnational-bicultural-multicultural experiences that represent the authors' own complex cultural and linguistic heritage. Often these texts, evoking the nuances of the settings and characters who inhabit cultural and linguistic borderlands, are written by authors who while writing prose or poetry are also author-illustrators or whose books represent vivid narrative depictions of bicultural Latino lives. The books discussed here represent the continua of the types of experiences that capture the author's own lived experience. One example is Carmen Lomas Garza, a native Texan from Kingsville, who portrays stories that resonate broad themes through art and words both In My Family / En Mi Familia and Family Pictures / Cuadros de Familia. Other authors include Juna Felipe Herrera, Francisco Jiménez, and Tomas Rivera. The texts discussed in this Letter are primarily what are known as parallel texts, or texts that present narrative or poems in both languages. In this case, English is presented (typically first) juxtaposed with a Spanish translation, often done by the author as translator reflecting her or his own pride in the native tongue. Most significantly, these texts lend themselves well to analysis of social and historical issues and themes of racism, linguistic isolation, family, and hope. Bilingual and multilingual texts are especially relevant with changing demographics in the United States and internationally; they offer insight into those not from the author's background. [End Page 88] Lee and Low Press in San Francisco publish children's monolingual and bilingual books from a wide context of backgrounds. One of this publishing house's more famous authors is Chicana artist and writer Carmen Lomas Garza, who composes vignettes that center around themes of music and oral traditions such as the haunting and legendary La Llorona (the Weeping Woman), a classic story of a wandering ghost woman who weeps for the children she drowned. La Llorona is a haunting figure representing an endless search for redemption. This story transgresses the more typical narrative picture storybook shared in U.S. elementary classrooms. Similarly, Gloria Anzaldua's dual-language text Prietita and the Ghost Woman / Prietita y la llorona portrays La Llorona in a more positive light, in contrast with most versions of this well-known traditional Southwest U.S. legend. Garza's identification with strong themes of identity and agency are also reflected in her artist's statement on her website (http://carmenlomasgarza.com/). Garza's detailed illustrations with subtle richness evoke traditions of family but also the spiritual and religious nature of Mexican-American customs. For instance, La Virgen de Guadalupe is visible in most illustrations, as are crosses, rosary beads, and churches. Women are portrayed as caring, nurturing healers (the picture of la curandera [the healer] demonstrates this well. Garza states in the front matter that as a child she was chastised for speaking her native tongue, Spanish. She states, "My art is a way of healing these wounds, like the saliva plant (aloe vera) heals burns and scrapes when applied by a loving parent or grandparent." Border crossings to the United States as well as return to the home country are a key feature of Latino youth who may cross not only the physical border but the cultural and linguistic border, as well; these are seen in Amada Irma Perez' My Diary From Here to There / Mi diario de aquí hasta allá. The narrator shares her mixed emotions, loss of home, hope for her family's future, reflecting a dual or hybrid identity of retaining one's language while relocating to a new physical place. The journey itself is transformative through the author's lens that becoming American is found in this zone between two cultures. Similarly, in La Mariposa Francisco Jimenez shares an excerpt from his longer young adult novel The Circuit about the author's...

Reading The Black Book : Between the Lines of History

Reading The Black Book: Between the Lines of History Cheryl A. Wall (bio) When ‘The Black Book’ was Published in 1974, with Toni Morrison as its in-house editor, it was an immediate commercial and critical success. With the hardcover priced at $15.00 and the paperback at $5.95, an eye-catching cover that echoed the design of a quilt, and an introduction by Bill Cosby, it was aggressively marketed to a mass audience. Cosby recorded five radio commercials: 160 press kits containing the book, the Cosby tapes and scripts, and quotes from an array of black artists and celebrities (including Muhammad Ali, B. B. King, Gwendolyn Brooks, Angela Davis, Alex Haley, Max Roach, and Alice Walker) were mailed to disk jockeys at black-oriented radio stations across the country. A “Black Book” record was cut, with lyrics based on the poem—written by but not attributed to Morrison—that graced the back cover. Morrison made numerous media appearances to promote the book. Parties were held in Chicago and New York; the star-studded gala at Charles Gallery, a restaurant on Harlem’s 125th Street, on 4 March 1974 was widely reported by local media, including television, radio, and newspapers. The effort paid off: on 15 April 1974, The Black Book was number nine on The New York Times trade paperback best seller list (Random Box 1146). Co-edited by collectors Middleton Harris, Morris Levitt, and Roger Furman, the self-described “scrapbook” of African American history, won critical acclaim. In a competitive season, The Black Book garnered a nomination for the 1975 National Book Award in the Contemporary Affairs category, alongside Robert Caro’s The Power Broker: Robert Moses and the Fall of New York, Robert Pirsig’s counterculture classic, Zen and the Art of Motorcycle Maintenance, Robert Woodward and Carl [End Page 105] Bernstein’s All the President’s Men, and Theodore Rosengarten’s All God’s Dangers: The Life of Nate Shaw, which won the award. In recognition of its stunning design, The Black Book also received an award from the American Institute of Graphic Arts. Several critics were effusive: Newsweek reviewer Margo Jefferson found that, like the best histories, “it informs, corrects and even inspires”; she also noted that the material required “a reader’s interpretation” (104). Donald Bogle in a review, “The Whole Black Catalogue,” whose title riffed on The Whole Earth Catalogue (1968), one of the era’s most successful publishing ventures, summed up The Black Book as “oversized, rambling, ambitious, and stubbornly brilliant.” It was, he averred, “much too dazzling and personal to sit unread on anyone’s table.” Doris Grumbach, the regular reviewer for The New Republic, made an apt judgment and an accurate prediction: “the book is fine and, like its subject, I suspect will endure” (31). The Black Book went through twelve printings, and a 35th anniversary edition was issued in 2009.1 The Black Book documents the history of African Americans through an array of verbal and visual texts: posters, newspaper articles, letters, speeches, bills of sale, spirituals and blues, work songs and folk tales, children’s rhymes, drawings, advertisements, photographs (both family pictures and documentary photographs of quilts, tools, furniture, and other artifacts), recipes, patent applications, sheet music, playbills and movie stills, formulas for conjure, and dream interpretations. The past unwinds in what historian Elsa Barkley Brown might describe as a polyrhythmic record that shifts abruptly from triumph to tragedy, degradation to betrayal, from the trivial to the profound. Like its quilt-like cover, the entire book offers a visual metaphor for history as “everybody talking at once” (85). It reproduces hand-written letters and pages from tax ledgers and family Bibles. Facsimiles of published material are produced in a range of fonts, as are the columns of factoids composed by the editors. The Black Book reproduces newspaper accounts of lynchings that capture the peculiar confluence of barbarism and propriety attendant to the public spectacles. One front-page article describing a lynching in Pennsylvania notes the deference shown the white women in attendance, as white men “stepped back even as the women came forward and led them to points of vantage where they could obtain the best view...

The role of verbal and nonverbal memory in the Family Pictures Subtest: Data from children with specific language impairment

This study examined the contribution of verbal and visual memory to performance on the Family Pictures subtest of the Children’s Memory Scale. This subtest purports to assess declarative memory functioning in the visual/nonverbal domain. A total of 115 nine-year-old children participated in this study. Fifty-eight had specific language impairment (SLI), whilst the remaining 57 were typically developing (TD), with no history of language difficulties. Results showed that the children with SLI, who had intact declarative memory for visual but not verbal information, obtained significantly lower scores on the Family Pictures subtest when compared to the TD group. Regression analyses revealed that across the entire sample, individual differences on the Family Pictures subtest was best predicted by a measure of verbal working memory. These results question whether the Family Pictures subtest can be considered a measure of visual memory in pediatric populations. These results have implications for the interpretation of scores on this subtest regarding the nature of the types of neurocognitive difficulties children may exhibit.