Image Of Warrior Research Articles

Чернокожая воительница в сценической миниатюре Любови Столицы «Зеркало девственниц» (1917): гендер и раса в театре кабаре

The paper considers how the heroic, romanticized, often tragic image of the warrior woman received parodic coverage in the “Mirror of Virgins” (1917), a miniature play by Lyubov Stolitsa. The comic representation of the female warrior in this play is an exceptional instance in the realm of Russian Modernist literature. In addition, to the author’s knowledge, it is the only image of a black female warrior and the only one found in a text written for the cabaret theater. The hypothesis of this paper is that it is in relation to the black heroine and within the framework of the cabaret culture that the comic and degrading representation of the high image occurs. Russian culture had no specific colonial discourse towards black people, typical of England, France, and the United States. However, it has been found that black people were perceived as savages, obeying only natural laws close to primitiveness. Additionally, the review of miniature plays by Potemkin, Agnivtsev, Chuzh-Chuzhenin, and others, including the “One Sheer Nonsense,” a “harlequinade” by Shershenevich, has revealed that cabaret plays characterized by their inevitable parodic perspective exacerbated this perception. Given this background, it is obvious that Stolitsa portrays her black woman, albeit somewhat comically, but with much more reverence than other authors of cabaret plays. Moreover, it is worth noting that all the elements that “diminish” the image of the black heroine are given from the perspective of the caliph, a character who proves himself an object of ridicule.

Unending War: Combat Trauma in Joss Whedon’s "Firefly"

The article discusses the long-term effects of combat trauma as portrayed in Joss Whedon’s Firefly series, focusing on the issues of trust, identity, and belonging. In doing so, it highlights the image of warrior and war in popular culture.

The Archers of Kerma: Warrior Image and Birth of a State

The Archers of Kerma: Warrior Image and Birth of a State

Images of warriors with the shield from Bichigt Mount in Ikh Bayan Mountain

This article analyzes the image of the warrior with the shield – one of the most beautiful petroglyphs, discovered near Bichigt Mount in Ikh Bayan Mountain ridge, Bayanlig sum, Bayankhongor aimag. During the survey in 2019, when autors have being photographing, documenting and re-examining the petroglyphs of Bichigtiin am, they discovered an image of the fighting warriors, equipped by bows and axes. The carving was located on the rock, on the left side of the Mouth. The color of depiction is almost the same as rock background, that indicates the early age of this petroglyphs and makes possible relating it to Bronze Age. It is quite typical scene for the Bronze Age rock art – infighting with usage of different kinds of weapon. But there very few images with warrior, who uses the shield as the main security guard. The shield on this image is very similar to the penthahedral objects that can be found depicted on the deer stones and usually interpreted as the part of the ammunition. This is first time, when petroglyph, represented the warrior, holding the shield to protect himself from the arrows of other warriors. This discovery is unique and significant for understanding of types of ammunition and traditions of rock art in Bronze Age: we suppose that the picture finalized the discussion on meaning of penthahedral objects on the deer stones, found in Mongolia and neighboring territories.
 Их Баян уулын Бичигтийн амны бамбайт дайчны дүрслэл
 Товчлол. Энэ өгүүлэлд Баянхонгор аймгийн Баянлиг сумын нутаг Их Баян уулын Бичигтийн амнааc шинээр илрүүлэн олсон хадны нэгэн гайхамшигт зураг болох бамбайгаар зэвсэглэсэн дайчны дүрслэлийг нийтэлж байна.2019 оны хавар, зохиогчид Бичигтийн амны хадны зургийн гэрэл зураг авах, баримтжуулах, шинэ дурсгал олж илрүүлэх, дахин судлах ажлын хүрээнд нэгэн хошууны хаданд сийлсэн нум болон байлдааны сүхээр хоорондоо тулалдаж буй өгүүлэмжтэй зургийг илрүүлэн олсон юм. Хүрэл зэвсгийн үеийн хадны зурагт хоорондоо төрөл бүрийн зэвсгээр ойрын зайнаас тулалдаж буй байдлыг илтгэн харуулсан зохиомжит зураг олон байдаг хэдий ч хамгаалалтын гол зэвсэглэл болох бамбай барьсан дайчны дүрслэл тун ховор юм. Энэ зурагт дүрслэгдсэн дайчин эрийн барьсан бамбай нь буган чулуун хөшөөний зэр зэвсэг дотор олонтоо тааралдах таван талт дүрслэлтэй адилхан байна. Ийнхүү буган хөшөөнөө олон тоогоор дүрслэгдсэн байдаг бамбайн дүрслэл хадны зурагт анх удаа бодит байдлаар буюу дайчин эр гартаа барьж, нум сум харваж буй дайчны сумнаас хамгаалан буйгаар дүрслэгдсэнээр олдож байгаа нь судалгааны асар их ач холбогдолтой юм.Манай орон болон хөрш зэргэлдээх орны бүс нутгийн буган хөшөөн дээр сийлэгдсэн, учир холбогдол, зориулалт нь маргаан дагуулж ирсэн дүрслэл бодитоор олдож хүрэл зэвсгийн үеийн судалгааны нэгэн маргаантай асуудалд цэг тавилаа хэмээн үзэж байна.Бамбайт дайчны зургийн хадгалагдсан байдал, сийлсэн арга барил зэрэгт үндэслэн энэ зургийг хүрэл зэвсгийн хөгжингүй үед холбогдуулан авч үзлээ.
 Түлхүүр үгс: Их Баян уул, Бичигтийн ам, хадны зураг, бамбай, буган хөшөө, хүрэл зэвсгийн үе

Clintel Steed: Recent Paintings

Clintel Steed: Recent Paintings Karen Wilkin (bio) and Clintel Steed (bio) Clintel Steed’s students at the New York Studio School report that he famously urges each of them to “paint your truth.” It’s an approach that he himself follows, but Steed’s own truth, as a visually sophisticated Black man in the United States, is complicated. He is a virtuoso painter whose work is at once responsive to the instability of the present moment, informed by the certainties of the past, and inflected by intense feeling. Steed’s truth seems to be triggered by an apparently unlimited set of stimuli—the multiplicity of the world around him. At various times, Steed has explored images of warriors and reclining nudes, studio setups, figures in interiors, the cacophony of urban life, interpretations of the art of the past, and much more. A recent, searing, series of Blackface paintings, as he termed them, provoked by the anxiety of the pandemic and the traumatic events of the last year and a half, including tragedy in his own family, are simultaneously ferocious indictments of stereotypical, demeaning images of Black people and evocations of simmering unrest—visual embodiments of rage, disquiet, and pain. Yet Steed expresses his passionate feelings about inequities, upheaval, and loss not by means of illustration or explicit narrative, but in purely painterly terms, through expressive, sensuous handling of his medium and through vibrant hues, playing on the disparity between brutal, confrontational imagery and accomplished, urgent facture. An even more recent group of tightly-framed heads, the Goggle Series, 2022, springs from a seemingly more benign source: the skiers competing in the recent Winter Olympics, at the start of an event. They are poised, we imagine, at the top of the course, about to plunge downhill. At first acquaintance with the series, we think that Steed has come to terms with the anger and sorrow that fueled the Blackface series and is concentrating instead on the formal, near-abstract possibilities of massing and composition offered by the skiers’ spherical helmets and the blank, reflective planes of their wraparound goggles. He has filled the small canvases, each about the size of a head, with paradoxical images of nearly faceless individuals, their recognizable features almost totally concealed by their protective gear, with only fragments of physiognomy remaining visible. We see a lexicon of different mouths, sometimes a glimpse of teeth, the tip of a nose, nostrils, all casually suggested with bold swipes of the brush. The features are indicated broadly, and the entire head/helmet form is reduced to near-Euclidean geometry, but Steed [End Page 91] also makes each of his subjects remarkably individual. If we spend some time with the series, we discover differences in the angle at which the helmeted head is presented and small differences among the goggles—in their shape, their attachment, the color of their frames, and the like—as diverse as the variously indicated features. The series is further animated by fierce color, applied with a vigorous touch, which determines the mood of the painting and heightens the sense of individuality. In some of the series, the plane of the goggles is fractured into a crazy quilt of disjunctive reflections, while in others, it becomes a wall of virtually unbroken color, sometimes punctuated by casual sweeps. Spend more time, and each painting becomes a specific portrait. In The Goggle Series #4, the pugnacious subject is seen in a very particular near-profile. In The Goggle Series #5, the helmeted head and shiny goggles almost disappear into a wealth of painting incidents that could hint at a setting, but also threaten to turn the painting into a complex abstraction. In #1, #6, and #7, the reflections almost take on a life of their own, turning the rest of the volumetric head and helmet into a kind of generous background structure. Steed explains his choice of the theme by saying, “I feel like it allows me to talk about painting issues I find interesting. Time, space, and form. Weight and color and trying always to be in the now and aware of the world I am living in.” We can read The Goggle Series as testimony to...

Review of the Monograph: Likhacheva O.S. Weaponry and warfare of the population of the Forest-Steppe Altai in the Early Iron Age (8th–1st centuries B.C.). Barnaul: Publ. IP I. A. Kolmogorov, 2020. 320 p. ISBN 978-5-91556-710-7

The paper presents a review on a monograph by O.S. Likhacheva, concerned with the analysis of different types of weapons and reconstruction of some aspects of the warfare of the tribes of the Forest-Steppe Altai in the 8th–1st centuries B.C., which contains a representative album of illustrations, including photographs and drawings of artifacts, artistic interpretations of weapons and images of warriors, made by the author. O.S. Likhacheva carried out a meticulous analysis of numerous categories of weapons and their fragments. However, in the opinion of the author of this review, for a considerable part of the presented inventory there is a lack of context description of the finds in the ceremonial burial complexes. This leads to the description of the votive weapons as combative, ceremonially broken items as intact, and fragmentary separate armor-clad plates as a complete armor suit. Certain selectivity of the author in writing the historiography section narrows the attention of the researcher on only one region under consideration, thus ignoring the trans-cultural nature of some types of the weapons of short-range and long-range combat among the nomads of the Central Asia in the 8th–1st centuries B.C., as well as the body of the material from the monuments of the Novosibirsk Ob region which fit in the topic area of the research. The author recommends the book of O.S. Likhacheva to all interested in the history and archaeology of Altai Krai and Upper Ob region.

ОБРАЗ СУМРАЧНОГО БОГАТЫРЯ В ПОЭМЕ М. М. ХЕРАСКОВА «ВЛАДИМИР» И СКАЗКЕ А. С. ПУШКИНА «РУСЛАН И ЛЮДМИЛА»

The article uses a comparative text analysis of the poem “Vladimir” and the fairy tale “Ruslan and Lyudmila” to reveal a number of parallels associated with the image of the warrior Rogdai. Previously, researchers have not considered this aspect of the works in detail. The character has a conventionally historical prototype – the epic hero Rogdai is mentioned in the “Core of Russian History” by A. I. Mankiev, and his laconic description in the source sets the type of character in Kheraskov’s and Pushkin’s poems. In both works Rogdai occupies a prominent position at the court of Prince Vladimir of Kiev, and is distinguished by his strength and violent temper. Kheraskov's poem emphasizes the immorality of the character, which is due to the didactic message of “Vladimir” and the need to discredit the warrior who is an opponent of Christianity, while Pushkin omits the ethical points. As the plot develops, the relatively neutral character becomes the antagonist of the main hero – Kheraskov's Vladimir and Pushkin's Ruslan – and at a certain point fights with them, which results in the warrior's dishonorable death. The comparison of “Vladimir” and “Ruslan and Lyudmila” shows that, in addition to the name, Rogdai has similar characteristics in the works of Kheraskov and Pushkin; the image is created according to the model of the epic hero, overshadowed by negative traits. The texts show common motifs - the anger, resentment and vindictiveness of the hero, the corrupting influence of the evil spirit and its helpers, Rogdai's wandering through the desert places, his death at the hands of the enemy. The similarity between Kheraskov's and Pushkin's characters of the same name leads to the conclusion that the image of the gloomy warrior from the poem “Vladimir” was borrowed into Ruslan and Lyudmila.

To the Iconography of the Saint Warrior Horseman in the Byzantine Sphragistics of the 12th – 13th Centuries. Saint Demetrios of Thessalonika

Introduction. The images of holy warriors were extremely popular in the art of Byzantium and the countries of the Byzantine cultural circle of the 11th – 14th centuries. They are known for numerous images in iconography, monumental painting, applied art. They are numerous in sphragistics. The image of a warrior horseman best known for the early 13th century monuments is the rarest and most recent formation. Introducing new sigilographic monuments into the scientific circulation and determining the time of appearance of this iconographic type on their basis are among the main goals of the proposed research. Methods. The methodological basis of the study is an interdisciplinary integrated approach that involves using methods of the comparative analysis of sfragistics, numismatic and other categories of monuments. Analysis. Two seals are kept in the State Hermitage Museum collection. Both sides of the first seal (M-12374) have the depiction of Saint Demetrios of Thessaloniki as a horseman triumphant. On the left, under the cloak, there is the inscription ΟΔΗ. that, apparently, can be revealed as Ὁ (ἅγιος) Δη(μήτριος). On the other side of the seal there is a full-length image of Saint Stephanos with a censer and pyxis in his hands. On the front side of the second seal (M-3751) there is the same image of Saint Demetrios of Thessaloniki with a similar inscription. On the reverse side of the seal there is the inscription “Defender, look at me, your slave Christopher”. Results. The images of Saint Demetrios of Thessaloniki on both seals are almost identical, which implies the existence of a common prototype, most likely an honored icon. We can assume that it was in Thessaloniki in the Basilica of Saint Demetrios. Probably, the image of the warrior triumphant is the latest version of the iconography of saint warrior and it is known for the few monuments of the late 11th – 12th centuries. As a result, both seals can be dated to the same time.

ARMY, SOCIETY AND STATE IN SEARCH OF A PREFERABLE MODEL OF COOPERATION

The author attempts to define the most relevant formats of civil- military relationships. In order to do it, the author refers to the experience from the USA, Western Europe, Russia and China. Classical Western system of civil-military relationships can be found in the USA and Western Europe and characterized by the strict separation of an army from politics and vice versa. This leads to the situation, when an army has no influence on the spheres of civic power, while also weakening the link between politics and strategy. The author claims that the western approach to the regulation of civilmilitary relationships cannot be implemented outside of the West. Thus, although Russian political system is characterized as a system with weak political institutes, the Russian model demonstrates the ability of state to control military forces. In China, where political elite dominates an army, the system of civil-military relationships is also tacit. Many aspects of the Chinese system with the communist party`s control of an army has much in common with the Soviet experience. However, it does not reduce the significant unique characters of the Chinese system. Thus, the image of warrior in the Confucian culture never found such a great level of popularity, which was relevant for the Christian Western culture. The efficiency of the civil control of army can not be compared, according to some uniform criteria. Such systems and mechanisms in a range of states are not defined in a normative way. In order to assess the informal status of an army in a society, we have to consider such an indirect aspect as the ways of the organization of the military high command system. The author concludes by stating that there is no mechanisms and systems of civil-military relationships, which can be implemented universally. All of them are determined by the country`s history and cannot be understand outside the political context. Besides, all of the considered models have both: dvantages and disadvantages.

Шестая Международная научно-практическая конференция «Война и оружие. Новые исследования и материалы» (Санкт-Петербург, 13–15 мая 2015 г.)

The conference was devoted to the seventieth anniversary of the Great Patriotic War. At the opening ceremony the report was made by the Major-General, veteran of the Great Patriotic War. The department of culture of the Ministry of Defence of the Russian Federation sent the greeting to participants of the conference. The Conference included the several thematic sections, devoted to the military history and study of weapons. The reports at the sections were made by the military historians and archaeologists, museum workers, professors of universities and scientists from the different cities of Russia, Azerbaijan, and Poland. A series of reports presented the objects of armament from archaeological excavations and museum collections, the images of warriors and military attributes. Some reports considered the peculiarities of armament and military science of the Russian warriors in the era of the Late Middle Ages and Modern period. Consideration was given to the peculiarities of development of weapons in the several countries of the East. The conference demonstrated the considerable interest to military history among the Russian scientists.

Sporting Gender: Women Athletes and Celebrity-Making During China’s National Crisis, 1931–1945 by Gao Yunxiang

Reviewed by: Sporting Gender: Women Athletes and Celebrity-Making During China’s National Crisis, 1931–1945 by Gao Yunxiang Lisa Tran Gao Yunxiang. Sporting Gender: Women Athletes and Celebrity-Making During China’s National Crisis, 1931–1945. Toronto: University of British Columbia Press, 2014. xiv, 328 pp. $32.95 (paper). In the past two decades, there have been several studies using sports as a lens through which to view twentieth-century China. Gao Yunxiang’s book contributes to this growing field by exploring the gendered nature of the relationship between sports and nation, and by spotlighting the lives and contributions of the female athletes at the center of this relationship. Gao begins with the 2008 Summer Olympics in Beijing to highlight the link between competitive sports and nationalist pride, a connection that she traces to the association of sports with national salvation during the 1930s, a period of political instability and foreign invasion. The concept of tiyu—variously translated as sports, athletics, physical fitness, physical education, “body culture,”1 and “physical culture”2—gained prominence during this period of national crisis. Gao’s book provides an explicitly gendered analysis of the centrality of tiyu in discourses on nation and modernity by examining the role of women as administrators and athletes in the development of tiyu in early twentieth-century China. In addition, she also traces the effects of tiyu on images of women, fashion, film, public policy, and sexual mores. Sporting Gender is divided into six chapters, with three chapters focused on specific women, two chapters on groups of female athletes, and one chapter on the concept of jianmei (“robust healthy beauty”). Chapter 1 uses the career of Zhang Huilan, the pioneer of women’s physical education in China, to map the trajectory by which educated and talented women navigated the administrative infrastructure of the male-dominated tiyu establishment. Zhang’s academic credentials and nationalist goals identified her as a “New Woman,” a female ideal type that was the opposite of the pleasure-seeking and politically apathetic “Modern Girl.” However, as Gao shows throughout the book, the New Woman and the Modern Girl often overlapped, an argument she develops more fully in Chapter 5’s discussion of the Olympic swimmer Yang Xiuqiong and Chapter 6’s story of the actress Li Lili, who Gao argues represented a “radical new type of film character: the sportswoman” (p. 213). Gao analyzes the tension between the New Woman and the Modern Girl and shows how Yang and Li negotiated between their public personae and their private lives. Chapter 2 explores the various meanings that came to be associated with the term jianmei, which Gao translates as “robust healthy beauty,” in popular and state discourses. Women’s magazines used the term to describe the female athletic form. Gao shows how the standards of jianmei were based on the physiques of Western women and reflected Chinese visions of modernity. During the New Life Movement, jianmei came to be targeted as a moral threat by the state. In reaction, urban intellectuals invoked jianmei to celebrate the body in its natural form. Chapters 3 and 4 follow the careers, respectively, of the basketball team of the Liangjiang Women’s Tiyu Normal School and female track stars. Gao uses the basketball team as a springboard for an analysis of the ways in which the rules of the game were gendered and racialized. She also shows how the masculine warrior image emerged to counter views of female basketball players as “Modern Girls.” In contrast, female track stars responded to criticism of their “excessive masculinity” (p. 143) by cultivating “traditional feminine virtues” such as filial piety and self-sacrifice (p. 147). Gao shows how these female athletes also combatted portrayals of them as Modern Girls by throwing themselves into training, limiting their social activities, and joining nationalist causes. Most of the sources Gao uses are drawn from articles published in the Republican press; she supplements these with memoirs, biographies, and published interviews of the women who are at the heart of her study. Woven throughout the book are images and illustrations that bring the material to life. Although she mentions the use of archival materials, the bibliography lists...

Евангельские образы и мотивы в стихотворениях С. Орлова о Куликовской битве в сравнении с циклом А. Блока «На поле Куликовом»

The Battle of Kulikovo is one of the most significant events in Russian history. This article discusses five poems by Alexander Blok and Sergey Orlov devoted to this battle. Alexander Blok's cycle of poems On the Field of Kulikovo prophetically predicts future changes in Russia. Sergey Orlov's poems devoted to this historical event can be seen as a certain indicator of his creative evolution. The image of the homeland, as well as the image of his wife (widow), in Blok's and Orlov's poems originates from the image of the Mother of God. Images of celestial body used by both poets are associated with military paraphernalia and arise from the evangelical images, while the warrior image is based on the evangelical image of brotherhood. Poetic experience of Alexander Blok and Sergey Orlov reveals Orthodox roots that nourish the entire Russian culture.

Andrew J. Huebner . The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era . Chapel Hill: University of North Carolina Press. 2008. Pp. x, 371. Cloth $65.00, paper $24.95.

Andrew J. Huebner . The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era . Chapel Hill: University of North Carolina Press. 2008. Pp. x, 371. Cloth $65.00, paper $24.95.

The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era. By Andrew J. Huebner. Chapel Hill: University of North Carolina Press and The Vietnam War in American Memory: Veterans, Memorials, and the Politics of Healing. By Patrick Hagopian. Amherst: University of Massachusetts Press

The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era. By Andrew J. Huebner. Chapel Hill: University of North Carolina Press and The Vietnam War in American Memory: Veterans, Memorials, and the Politics of Healing. By Patrick Hagopian. Amherst: University of Massachusetts Press

Andrew J. Huebner, The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era

Andrew J. Huebner, <i>The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era</i>

The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era (review)

The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era (review)

The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era (review)

The Warrior Image: Soldiers in American Culture from the Second World War to the Vietnam Era (review)

Indian Country: Essays on Contemporary Native Culture (review)

Reviewed by: Indian Country: Essays on Contemporary Native Culture Renate Eigenbrod G.G. Valaskakis . Indian Country: Essays on Contemporary Native Culture. Wilfred Laurier University Press. 2005. x, 293. $28.95 Indian Country consists of a collection of essays on topics that include resistance movements, treaty rights, and land claims as well as powwow traditions, the significance of the drum (and ways of researching it), the repatriation of artifacts and images, and Native women. Throughout her analysis of negotiations in Native communities (urban and reserve, [End Page 169] Canada and United States) of 'different – even opposing – discourses of emerging cultural and political possibility' Valaskakis emphasizes 'the enduring sensibility of being Indian.' She positions herself as 'insider-outsider': as a Chippewa (otherwise known as Ojibway or Anisnabe) of mixed ancestry, she and her brother grew up in Lac du Flambeau in Wisconsin, becoming 'living boundaries between the city and the reserve, the Chippewa and the outsider.' She sees herself as 'allied to Indian Country and a mix of border zones, academic, urban, and social.' This view of her own positionality shapes her epistemological vantage point and creates an intriguing and insightful account of 'interrelated realities: individual and collective, past and present, Indian and Other.' Her explorations, written in the 'adopted' vocabulary of cultural studies, draw the reader into a continuous movement of interpretations; closures are constructed as contingent since Native 'communities are not cemented in unity and belonging, but in a dynamic process of change and difference' – a continuum erased by the discourse of museum collections and the media, which prefer to dissolve contradictions inherent to lived experiences. In the chapter 'Rights and Warriors: Media Memories and Oka,' for example, Valaskakis illustrates her methodological approach 'grounded in historical experience and current practice' by 'reading' the different re-presentations of Indian warriors from their role of allies in colonial wars, to protectors of their own people, to their demonization in resistance movements like AIM and Oka, to gangs in urban centres. She concludes, 'The media dissolved the difference between warriors who were protecting Indian land from an invasion of the police, the army, or business, and warriors who were barricading the Mercier Bridge between Kahnawake and Montreal.' It is this 'social imaginary of the monolithic warrior,' she further argues, that attracts unemployed Native youth, turning them onto the wrong warrior path and, as the dominant narrative, highlights militancy but does not allow newcomers 'to identify Native people as owners and occupants of North American land.' The re-appropriation of the warrior image in Native discourses today is one example of the 'web of representations' in which Natives and newcomers are bound together. Valaskakis illustrates her emphasis on multiple representations of Native realities in the image of the book cover, which shows a photograph of her great-grandmother Margaret Gauthier who gave her ceremonial dress to the Smithsonian Museum in the late 1920s. The photo is multiplied as four images reflecting on each other, with a faint mirrored image, mysteriously allusive, in the background. Considering the author's critical analysis of research that centres on so-called artifacts as 'representations of power' rather than 'agents of power' (as she explains in the chapter on the significance [End Page 170] of her father's Midé water drum), this image on the front cover featuring her great-grandmother's ceremonial dress is revealing. It reflects upon her methodology throughout in that it validates the lived experience of her ancestor whose individual story was considered unimportant while she was alive ('No one asked who she was') while it deconstructs a unitary notion of Native identity so much part of the colonial imaginary. Having read Valaskakis's book, researchers in 'Indian Country' will never again consider Native people and their articulations 'transparent' but will extend their research into composite methods of 'interpreting practice, decoding silence, and reconstructing absence' – only to arrive at '"truths" [that] are ... changeable and ambiguous.' Renate Eigenbrod Department of Native Studies, University of Manitoba Copyright © 2008 University of Toronto Press Incorporated

Psychotherapy for Asian American Woman Warriors

SUMMARY To treat Asian American women in psychotherapy, one needs to be cognizant of the images they conjure up. Negative images common in the media and literature need to be replaced by empowering ones if we are to be responsive to multicultural and feminist values. The passive, self-effacing, exotic China doll needs to be replaced by the Woman Warrior image, a classic in Chinese mythology. A look at the evolution of women's roles in China, and the influence of Taoist as well as Confucian philosophy, is important to properly anchor empowering roles for women to be supported in psychotherapy.

Spectacles of Pain: War, Masculinity and the Masochistic Fantasy in Amos Gitai's Kippur

Israeli war films of the 1950s and 60s focused on the typically male fantasy in which a soldier is prepared to sacrifice his body to torture and harm—and sometimes even to death—in order to serve national ideals. Masochistic enjoyment is a substantial component in the construction of the fighting male body as a war machine, but in the 50s war films this component was absent. The materiality of bodily pain appeared as a representation of an abstract national idea. What was omitted in these films becomes a spectacle of pain in Amos Gitai's film, Kippur (2000). The film constructs a masochistic fantasy whereby the fighting male body is stripped of its metaphoric national meaning, turning now to its bodily corporality, to flesh, blood, and bone. Gitai's film exposes the violence and suffering that are denied by Israel's culture of war, and which are required for the very construction of nationalism.