Photo Album Research Articles

Joint Parent-Child App Play Can Bolster Language Development

You have accessThe ASHA LeaderApp-titude1 Apr 2017Joint Parent-Child App Play Can Bolster Language DevelopmentSLPs can show parents how to harness apps to get their children talking at home. Sean SweeneyMS, MEd, CCC-SLP Sean Sweeney Google Scholar More articles by this author , MS, MEd, CCC-SLP https://doi.org/10.1044/leader.APP.22042017.np SectionsAbout ToolsAdd to favorites ShareFacebookTwitterLinked In Parents are eager for tools—toys, books, games, activities and even technology—they can use to improve their child’s communication skills. Clinicians can use a number of resources to help focus this discussion and provide models to parents. Some clarification Technology use at home is something of a hot-button issue of late. Clinicians and parents are understandably concerned about excessive “screen time” and potential tech addiction among our teens. But many parents recognize their children’s interest in devices and would like tips on interacting with them around it—or are open to framing the discussion according to that model. The American Academy of Pediatrics (AAP) has long been a strong voice in this issue, and recently emphasized the potential of “co-engagement” as opposed to unsupervised screen time. In this mode of technology use, parents and children engage around a game or app-based activity in the same way they would with a picture book or toy. The AAP Article “Beyond Turn It Off” provides a great resource for discussing these points. Limits and balance of activities are, of course, still important points; the AAP provides a more comprehensive Media and Children Communication Toolkit including policy statements, videos and family media plans. Modeling co-engagement Parents will benefit from models of how to use apps with their children in interactive, language-eliciting ways, just as they do with toys, books and other materials. Identifying interactive and language-neutral apps that have a modifiable pace and limited sound effects and voiceover is a step that paves the way to scaffolding language within the context. Apps from Sago Mini, Dr. Panda and Toca Boca are good examples. Clinicians can also explore and demonstrate the use of simple apps for co-creation with parents. Pic Collage provides a great way to visualize vocabulary around a theme. In Book Creator, users can create “talking” photo albums of family events and stories. To supplement your modeling, the Joan Ganz Cooney Center, affiliated with Sesame Workshop, provides Family Time with Apps, a free, detailed e-book on co-engagement with apps. In this resource, comics depict parent-child interactions around a variety of apps. Additionally, the e-book suggests specific apps and app-related activities and provides guidelines for integrating apps in educational and communication-enhancing ways. App guides A number of apps have been created specifically to facilitate communication at home. PBS Parents Play and Learn provides a free library of interactive activities designed for parent-child play and suggestions for scaffolding teachable moments at home and in a variety of community settings. The Fred Rogers Center has also created apps with parent-child interaction in mind; in the free Alien Assignment app, parents and children can respond to cute alien “requests” to take photos that fit in various categories. Starting from these models, parents will likely find other apps with open-ended features that make them suitable to scaffold language and communication. Putting parents in touch with blogs such as Smart Apps for Kids and The iMums is another way to open these doors for them. Author Notes Sean Sweeney, MS, MEd, CCC-SLP, is a clinician and technology specialist working in private practice at the Ely Center in Needham, Massachusetts, and is a consultant to local and national organizations on technology integration in speech and language interventions. His blog, SpeechTechie, looks at technology “through a language lens.” [email protected] Advertising Disclaimer | Advertise With Us Advertising Disclaimer | Advertise With Us Additional Resources FiguresSourcesRelatedDetails Volume 22Issue 4April 2017 Get Permissions Add to your Mendeley library History Published in print: Apr 1, 2017 Metrics Current downloads: 1,849 Topicsleader_do_tagasha-article-typesleader-topicsCopyright & Permissions© 2017 American Speech-Language-Hearing AssociationLoading ...

Desmontaje y traslado del ábside de Fuentidueña. Experiencia y método en el arquitecto Alejandro Ferrant

En 1957 los gobiernos de España y Estados Unidos, a través del The Metropolitan Museum of Art y el Museo del Prado, acordaron la devolución de algunas pinturas de San Baudelio de Berlanga a cambio del traslado a Nueva York del ábside románico de San Martín de Fuentidueña. El ábside fue dibujado cuidadosamente y todos sus sillares numerados antes de su desmontaje y traslado hasta el nuevo emplazamiento en el museo The Cloisters.<br />En dichos trabajos quedó patente el alto grado de profesionalidad y conocimiento de Alejandro Ferrant Vázquez. Dado que los operarios del desmontaje no iban a intervenir en la reposición del elemento, este arquitecto plasmó con singular rigor en numerosos planos, complementados con un extenso álbum fotográfico, desde las disposiciones constructivas hasta las cotas de las irregulares hiladas de asiento de cada una de sus piezas. Esta metodología, usada en otros traslados, constituye un valioso documento técnico en una materia tan controvertida como el traslado de monumentos.

Facebook practices for business communication among fashion retailers

PurposeThe present study examines relationship building of major players in fashion retailing through social media. Using the theories of word-of-mouth marketing and brand community as theoretical frameworks, this paper analyses the impact of social media marketing in creating brand community. To that end, the use of the popular networking site Facebook was studied. The purpose of this paper is to analyze the extent and main purposes of the usage of this communication channel and to examine companies’ activity on their Facebook pages as well as to observe their audiences and the effect in their audiences’ engagement. Additionally, this paper analyses the main type of content and the most commonly used type of media.Design/methodology/approachResearch was based on a content analysis performed on 2,326 Facebook posts; a sample of 46 international leading companies in the fashion industry was analyzed in the time period between March 1 and May 31, 2015.FindingsFacebook audience is positively related to retailer’s size. However, audiences in this sector are not related to the level of activity of the retailers’ Facebook pages. Audience engagement and participation in fashion retailer’s Facebook sites is higher in small retailers. The main content of the Facebook pages of top fashion retailers is marketing, photo albums and videos being the most popular drivers of this means.Originality/valueNo previous research analyzed fashion retailers use of Facebook sites. This study examines the variables size and engagement of fashion retailers’ audience on Facebook according to retailers’ size and activity on their corporate profiles.

‘Little old “crumby” places we just drove up to and looked around’: Travel memorabilia and the perception of urban fabric

Abstract Australians have notoriously and frequently travelled internationally for entertainment, in pursuit of knowledge and experience. This article examines a trip undertaken by two engineers for Ansett Airlines, based in Melbourne, to the United States in the mid-1950s. Using as its basis a photo album compiled by one of the men, this article examines the mid-20th century Australian experience of American modernism, concentrating on transport and tourism facilities both mundane and magnificent.

Material form as a structural force in Nicki Greenberg’s The Great Gatsby and Hamlet

Comics or ‘sequential art’ has historically been considered an art of time. Yet, many recent artists privilege comics’ spatial extensions over the dimension of time. This article explores the role played by space in structuring comics. It does so by analysing two comics by Australian artist Nicki Greenberg, The Great Gatsby (2007) and Hamlet (2010). These two adaptations, which marry conventions of comics with a photo album and a theatrical stage, exploit the tension between material forms outside the comic, the material forms that influence the comic’s creation, and the material form taken by the work itself. They are examples of innovative comics made possible when material form is viewed as a structural force. Through analysing Greenberg’s methods for adapting existing works ‘through’ other material forms, I argue that material form is a structural force that can be analysed alongside optional conceptual structures such as the panel and gutter.

Selected Bibliography for the 125<sup>th</sup> Anniversary of Central Michigan University

The Michigan Historical Review 43:2 (Fall 2017): 65-80©2017 Central Michigan University. ISSN 0890-1686 All Rights Reserved Selected Bibliography for the 125th Anniversary of Central Michigan University By Susan Eileen Paton In 1892, twelve Mount Pleasant, Michigan, businessmen formed a committee and set their sights on building a teacher training school. They sold stock and prospective housing lots to buy the old Hursh farmland south of town and contracted with Professor Charles F. R. Bellows to head the school. Thus, the Central Michigan Normal School and Business Institute was born with thirty-one students in attendance that first year. In 1895, the Michigan State Board of Education assumed control of the school, an occasion met with much celebratory bonfires and banquets in Mount Pleasant. In 1918, the school, now boasting five buildings, awarded its first Bachelor of Arts degree. The name changed several times over the next few decades until 1959 when, with a student population of just over 4,500, it became Central Michigan University. Today, that original 10-acre plot has grown to 480 acres, and the 28,000 students enrolled at CMU can choose classes from over 200 academic programs. This selected bibliography is arranged in a loosely chronological format and by no means does it include all the archival material on the school’s history housed at CMU’s Clarke Historical Library, but it offers a glimpse at the wealth of records, be they letters, diaries, photographs, minutes, reports, or films that await any curious researcher. Announcement of Central Michigan Normal School and Business Institute Reproduction of the original 1892 twenty-one-page document; it was reprinted by the Clarke library for the 75th anniversary in 1967. College of Education vertical files Files run from 1892 on up to 1998, beginning with Normal School and then Teachers College records, and include ads, bulletins, newsletters, handbooks, and more. Also included are materials from the 1950s and 1960s on Rural School Management and the Teacher Education Project. 66 The Michigan Historical Review Central Michigan Normal School Class of 1896 Normal school photo album Small photo album with thirty-five images of professor portraits, student activities, Chippewa River excursions, an ice storm, and several female students, perhaps friends of the album’s owner, Christine Weideman, a student at the time (1893-1895). The First Hundred Years: A Portrait of Central Michigan University, 1892-1992, by John Cumming A richly detailed history including construction, leaders, and social life, with a section on campus adjustments that touches on such varied topics as faculty collective bargaining and alcohol misuse. A History of the Mathematics Department, Central Michigan University, 18921992 , by James K. Bidwell Written for CMU’s centennial, this book covers department and faculty activities as well as course chronology. CMU Bibliography 67 Proudly We Serve: Historical Sketches of Central Michigan College by Administration, 1892-1955, by Rolland Harper Maybee, with Victor P. Croftchik and Irwin M. Campbell Booklet from 1955 of Central’s earlier years organized by college presidents, includes photos. A History of the Department of Health Education at Central Michigan University, 1892-1977, by Sherri C. LeClear Masters’ thesis (1979) covering the growth of the Health Education department and faculty activities during these years. How Sweet is Your Suite: A History of Housing at Central Michigan University, by Donald W. Kilbourn Divided into two parts (1892-1958 and 1959-1980), this book offers histories and recollections of every dorm on campus. Central Michigan University, by Jack Westbrook History of Central from 1892-2007 (the year it was published), packed with photographs. Oversized images Images include a range of years, beginning with commencement photos of the 1890s on up to a 1969 sepia-tone print of Warriner Hall. Normal School Class of 1898 photo album Album includes sixty-one formal portraits of staff and students of the Normal School in 1898. Album has a black cover with a gold-lettered title; inscription reads “Courtesy of Mrs. A. E. Gorham.” Student Personnel, Course History of Central Michigan College 1903-1954 A listing of all courses offered during the years 1903-1954, from “aeronautics” to “speech & drama.” 68 The Michigan Historical Review Central Normal School campus in 1923, looking south...

Yearbooks Redux: "The Kitten"

Yearbooks Redux:"The Kitten" James Marten "There is a great deal to be learned about youth culture, both within and outside of the school, from the seemingly simple high school yearbook. … Yearbooks hold up a mirror to the students, their community, and their perceptions of the larger world. Few sources are written by and for young people in the same way as the high school yearbook."1 Last issue's object lesson by Pamela Riney-Kehrberg showed how the 1980s farm crisis rippled through the yearbook produced by the students of Harlan Community High School in Iowa. I want to follow up that fascinating object lesson with a very personal object lesson of my own. Last Christmas, while going through a box of family ephemera, my sister Jane and I came across a handmade yearbook from 1942, edited by our mother, Mary Lou Schlobohm, when she was an eighth grader in the one-room District 83 school near Aurora, South Dakota. As the lone eighth grader, she was naturally the editor of the yearbook, as well as the typist. Their township school was located about a mile north of the quarter-section farm where Mary Lou's father, William, farmed and her mother, Ruth, kept house (she was a former country school teacher). The students named their yearbook The Kitten, not for the cuddly pet, but for a game that for some reason became very important to them in 1941–1942. Kittenball resembles softball, but is played with a giant, rather squishy ball (the modern softball is twelve inches in circumference and has a hard surface, compared to the soft, sixteen-inch kittenball). Their season apparently consisted of a single game against another country school, which they lost, although as the yearbook went to press, there was hope that a rematch could be scheduled. There were only eight students in the school, but kittenball was a game that kids of any age could play. It helped that Mrs. Ishmael, the teacher (whom the students "like[d] very much"), covered first base. [End Page 307] Click for larger view View full resolution Materially, The Kitten bears little resemblance to most yearbooks being published by junior high and high schools in the 1940s. It is bound in lightly finished, quarter-inch plywood boards with rubber-covered rings. There's a photo of their school and "The Kitten" and "1942" fashioned out of black tape. The black and white photos are fastened to heavy construction paper with those black triangles that one sees in old photo albums. The text is typed directly onto the paper; blank pages were provided for students to inscribe with good wishes and signatures. Yet there are similarities between this crude yearbook and more polished publications. Each student is featured in a photograph of them standing against [End Page 308] the school's white siding; the pictures seem to have been taken on a typically windy spring day on the prairie. Each picture was accompanied with a brief list of favorite pastimes and special characteristics. My mother's listing, not surprisingly, perhaps, is the longest: she was the prettiest girl, best student, best girl student, best musician (she played piano by ear), most lady-like girl (there were no other girls older than ten), most silent student, most representative girl, and most popular student. Other kids were most athletic, wittiest, and most gentlemanly. A different page surveyed the students' favorite games and subjects. One of the two fourth graders, Bonnie Lou Kirby, "likes to swing, play ball, jump rope, New Orleans, Hop Scotch, and Pump Pump Pull Away," while the other, Kenneth Starman (he lived on the quarter section across the road from the school that would later be the farm on which my uncle, aunt, and cousins lived), had a similar set of interests, along with spelling and taking exams. Other kids liked the game "I Send," while the lone seventh grader, another Starman, also liked building birdhouses. Although I have no evidence to support this, "I Send" may have been an alternative name for "Red Rover," in which two lines of players with hands locked face each other, with individual kids racing to break through the opposing...

Durchhalten und Überleben an der Westfront. Raum und Körper im Ersten Weltkrieg by Christoph Nübel

Reviewed by: Durchhalten und Überleben an der Westfront. Raum und Körper im Ersten Weltkrieg by Christoph Nübel Adam T. Rosenbaum Durchhalten und Überleben an der Westfront. Raum und Körper im Ersten Weltkrieg. By Christoph Nübel. Paderborn: Schöningh, 2014. Pp. ix + 484. Cloth €44.90. ISBN 978-3506780836. Over one hundred years have passed since the outbreak of World War I, a conflict that marked the beginning of “the short twentieth century” (Hobsbawm) and “the modern age” (Eksteins). Unprecedented in its scope and destructiveness, the Great War has occupied scholars for decades. Classic works have addressed a variety of topics, including the sequence of diplomatic exchanges, the motives of the protagonists, and the escalation of the arms race, while more recent scholarship has directed our attention to propaganda and public opinion, the experience of the home front, and the profound cultural impact of four years of war. New research continues to illuminate previously underappreciated dimensions of the conflict, demonstrating a lingering fascination with World War I while also telling us something about the historian’s craft. With the right sources and analytical framework, a skillful historian can still say something new about even the most well-trodden topics. Christoph Nübel demonstrates exactly that with his new book about the German experience on the western front. In this rich and extensively researched monograph (featuring a bibliography of no less than 70 pages), Nübel demonstrates how the [End Page 210] so-called spatial turn can shed new light on World War I. More specifically, he examines different manifestations and conceptions of space (Raum) along the western front in three separate essays that focus on environment, terrain, and landscape respectively. The author justifies this unique approach by emphasizing that the soldiers themselves thought in spatial terms as they dealt with a hostile environment, mapped and navigated unfamiliar terrain, and contemplated and invented landscapes. More importantly, Nübel argues that space reveals how soldiers made sense of the war, and in many cases, how they persevered and survived (25). Thus, “space” is not just a buzzword but rather the key to a better understanding of the experience of trench warfare. In order to substantiate this ambitious hypothesis, Nübel turns to a wide variety of sources, including official military documents, reports from soldiers, diaries, letters, photo albums, drawings, and maps. He also adopts an interdisciplinary approach, utilizing the insights of anthropologists, ethnologists, psychologists, philosophers, and other scholars to interpret this broad range of evidence. The organization of the book is logical and the prose is direct, with each of the major sections concluding with a concise summary of Nübel’s conclusions. In his discussion of the environment of the western front, he emphasizes the omnipresent cold and wetness that defined the lives of many soldiers, leading him to convincingly claim that the greatest burdens of trench warfare were associated with environmental factors and not necessarily combat itself (97). Moreover, the dangerous conditions of life in the trenches compelled a host of civilian and military experts to develop tactics of survival and perseverance, while some claimed that the same conditions could transform soldiers, potentially reversing the degeneration that afflicted prewar society. On the subject of the terrain, Nübel describes how the land itself inevitably shaped both the experience of combat and military tactics, which changed drastically after the soldiers “dug in.” Especially useful is the short case study of a 1916 battle involving the 15th Bavarian Infantry Regiment at Neuville-Saint-Vaast. With this example, Nübel confirms that the military leadership went to great lengths to educate their troops on the topographical goals and obstacles of the battlefield. In practice, however, the individual soldiers only came into contact with a tiny portion of the terrain, reflecting, in the author’s words, “the industrial division of labor” (206). In the section on landscape, Nübel argues that carefully constructed images of the Heimat and Kriegslandschaft could alleviate and potentially rationalize the suffering of German soldiers. This is a logical argument, and the author does provide an interesting analysis of how soldiers comprehended the scenery of the western front itself, which was described alternately as a devastated landscape...

宮下欽撮影とされる日本建築学会蔵『震災写真 愛知県之部』『震災写真 岐阜県之部』と各機関に所蔵される『愛岐震災写真』『震災写真』の成立背景と『愛岐両県震災写真説明書』『明治廿四年十月廿八日震災写真説明書』との関係

This article examined "AICHIKEN NO BU" "GIHUKEN NO BU" "AIGI SINSAI SYASIN" "SINSAI SYASIN" photographed by Kin MIYASITA recorded the Nobi earthquake and "AIGI SETUMEISYO" "MEIJI 24 NEN 10 GATU 28 NITI SINSAI SYASIN SETUMEISYO", following points become clear. 1) After the Nobi earthquake, Kin MIYASITA took pictures of the stricken area by the requests of the Aichi Police and the railroad agency. In the collection of photographs settled these, there are "AICHIKEN NO BU" "GIHUKEN NO BU" possessed at Architectural Institute of Japan, "SINSAI SYASIN" at Gifu region meteorological observatory, "SINSAI SYASIN" at Nagoya University, "AIGI SINSAI SYASIN" at Aichi Prefectural library. 2) "AIGI SINSAI SYASIN" was made to explain the photograph of the photo album gathered up particularly, and this may be able to reach "AICHIKEN NO BU" "GIHUKEN NO BU" are equal very well. In other words, it may be said that ２ books are the definitive edition of the Nobi earthquake stricken area photographed by Kin Miyashita. 3) Only the number was written on the photograph mount of "AIGI SINSAI SYASIN" of the Aichi Prefectural library with a writing brush. This number applies to the explanation number in "AIGI SETUMEISYO". Therefore it is thought that "AIGI SINSAI SYASIN" of the Aichi Prefectural library was produced after the establishment of "AIGI SETUMEISYO". 4) From the wrong kanji included in the afterword, "AIGI SINSAISYASIN" of Nippon University was proved to be the earliest establishment as the Nobi earthquake photo album of Miyashita. In addition, "AICHIKEN NO BU" "GIHUKEN NO BU" and "AIGI SINSAI SYASIN" of Aichi Prefectural library where the sequence of the photograph obeyed "AIGI SETUMEISYO" were produced latest, it is thought that these were produced after January, 1892 when "AIGI SETUMEISYO" was edited. 5) Miyashita was concerned with editing of "MEIJI 24 NEN SEYUMEISYO" in the beginning of December, 1891, in the next month, he revised ibidem, and he gathered up "AIGI RYOKEN SETUMEISYO". In addition, the photograph album corresponding to "MEIJI 24 NENSETUMEISYO" has been never seen, but contents are equivalent to "MEIJI 24 NEN SYASINTYO" published in 1931.

If I Were to Die by Suicide, It Couldn'T Be in My Grandmother's Apartment

If I Were to Die by Suicide, It Couldn'T Be in My Grandmother's Apartment Daniella Toosie-Watson (bio) my aunt would touch my body too much, and I couldn't say no. She'd throw her body on my body, sobbing overdramatically. Her breasts against my breasts. Clothing, the illusion of protection. Her tear-wet lips on my forehead, cheek, my open, still warm, mouth. My body would twitch and jerk. If I didn't want her to mourn over me, I shouldn't have died, someone would say. I've been witness to this before. I'm in the shower, the door creaks open, I say don't come in, she opens the door fully, the only barrier between us a sliding glass door. The fog provides the possibility for protection. She laughs. I curl into myself, pull the hose away from my vulva, pretend I was only washing it. I am now perpetually naked in his memory. I cover my vulva with my hands after the act is done. Don't look, I ask. My ex rolls his eyes, I've already seen it. My aunt flails her arms in a pretend panic, laughing too loudly. I'm crying. He looks me in my eyes and smiles, I don't want to make you do anything you don't want to do. The next night at his house, I wake up to his fingers in my vagina. I wake up to his hands fondling my breasts. I wake up to his tongue in my mouth. I don't know what happened before waking up. My grandmother's apartment is already filled, anyway, with my grandmother's mementos: photo albums, history books, racks of her clothing from when she was young. My grandmother refuses to throw them away; they are comforting in their capacity to preserve the moment. My aunt complains that things with lack of utility should not take up space. She promises to throw them away once my grandmother dies. [End Page 113] Daniella Toosie-Watson DANIELLA TOOSIE-WATSON is a poet, visual artist, and educator in New York. She has received fellowships from the Callaloo Creative Writing Workshop and InsideOut Detroit Literary Arts Project. She is an MFA candidate at the University of Michigan's Helen Zell Writers' Program. Copyright © 2018 Johns Hopkins University Press

Esthetic preferences of laypersons of different cultures and races with regard to smile attractiveness.

Culture and ethnicity are among the factors affecting esthetic judgment of individuals. This study aimed to assess the acceptability threshold of variations in four components of an esthetic smile namely vertical lip thickness, dental midline deviation, buccal corridor, and the golden ratio in maxillary lateral incisors display among laypersons of different races and cultures. Raters (n = 35 in each city) among laypersons of nine cities namely Istanbul, Isfahan, Tabriz, Tehran, Doha, Rome, Sydney, Chicago, and Yazd, were given a photo album containing 27 random images of an attractive female smile, digitally altered with regard to the four smile components. They scored each picture from 0 to 100 in terms of smile attractiveness. Data were analyzed using SPSS 13 and the acceptability threshold for each component was calculated in each city using the Spearman and Wilcoxon tests. P< 0.05 was considered statistically significant. No significant differences were noted with regard to the increased vertical lip thickness, and an acceptability threshold could not be determined for it. The acceptability thresholds for midline deviations, buccal corridor, and the golden ratio were different among different cities. One-millimeter increase in the displayed width of maxillary lateral incisors was more desirable than the golden ratio standard width. Culture and race may significantly affect the esthetic preference of individuals with regard to smile attractiveness.

Place des Vosges par Michel Braudeau

Reviews 247 Braudeau, Michel. Place des Vosges. Paris: Seuil, 2017. ISBN 978-2-02-134295-6. Pp. 152. The beautiful, once-royal square invoked in Braudeau’s title points less to a classy neighborhood than to a crucible in time and place that contains many of the basic elements that made of the author a writer, and a prolific one at that. The era in question is the 1970s, a period deeply marked by May 68, but somewhat directionless in its aftermath. The author, clear-eyed and articulate, documents his own weaving path through the decade and among the famous inhabitants of the comparably famous place. Thus the young writer that he was experiments randomly with alcohol and the drugs of that decade’s choice; he travels, sometimes to exotic destinations, but without experiencing any profound epiphanies; and he dabbles in a number of light-hearted sexual relationships, grazing the possibility of genuine intimacy only a very few times. The descriptor of this text as a récit could not be more perfect: Braudeau recounts story upon story, as though paging through a photo album. His connections at the time to Jean Cayrol, chief literary consultant at Éditions du Seuil, gave him additional access to a constellation of the intellectuals of that age: Sollers, Barthes, Lacan, Sarduy. The cameo portraits he offers reveal a keen eye for character-revealing detail: William Burroughs had “un rire très court, un hoquet sarcastique, comme du gravier dans un arrosoir, et un haussement d’épaules [...] de tous les maîtres à dé-penser [...] il était l’un des plus mystérieusement sages”(48–49). The young writer also gets caught up in the aura of one extravagant and unpredictable Thomas, who he later learns is the son of Veit Harlan, creator of the infamous Juif Süss, anti-Semitic film of the 1940s. This lifemaiming accident of Thomas’s birth gives Braudeau insight into “sa personnalité si forte et malheureuse” (92). For this reader, the most touching admission of the book comes as the young writer fears that writing novels after the two great wars seems a naïve and potentially bootless enterprise, that the French language of novelists is archaic, useless, and forgettable. That Braudeau defied the literary Zeitgeist of the 1970s by writing more than twenty novels and that he made a career of defending literary language (not the least as editor-in-chief of the Nouvelle Revue Française) is a fitting postscript to Place. As for the book itself, situated in a pre-history of formative encounters with a vibrant generation of thinkers, it combines the uncertainty of an age with the sure writing of a master. Lawrence University (WI) Eilene Hoft-March Bruneau,André. Sourde rancœur. Québec: Apothéose, 2016. ISBN 978-2-89775-0329 . Pp. 406. Julien Poirier is a dedicated Montreal police investigator whose meticulous approach to crime-solving usually allows him to forget the frustrations that gnaw at ...

The Adventure of Individuality. Visual Representation of the Post-War Soviet Village and the Ambivalences of Ethnographic Photography during Late Stalinism and the “Thaw”

The photographic inventory of the collectivized Soviet village during the Stalinist period mainly consisted of images of progress based on examples of technological modernization such as tractors and depictions of the villagers made happy by it. In the context of this “poverty of images”, a photo album with pictures taken during an ethnographic expedition under the aegis of the Moscow Academy of Science to the Russian Central Black Earth Region in 1952 provides a unique insight into everyday kolkhoz life and its hardships during the lean postwar years. Of course, the Moscow Institute of Ethnography’s research project was framed by the norms and values of the late Stalinist period. The ethnographers were expected to reveal obstacles to socialist progress and thereby help overcome them. Therefore, they had to study a ‘typical’ (yet carefully chosen) village with an ordinary kolkhoz and all its real problems. The young amateur photographer Vladimir Gorlenko’s photographs of this ‘typical’ kolkhoz life did not correspond to the published visual norms of “socialist realism”. At the same time, they did not comply with the standards of ethnographic photography as a mere means of documenting “material culture” such as clothing or housing. In the end, the research in Voronezh was dropped in favour of a more promising village in the neighbouring region of Tambov, which was presented in the famous monograph The Village of Viriatino. The article examines visual patterns in the depiction of kolkhoz life in a larger context, both within and beyond ethnographic photography and discusses the permissible visual narratives during late Stalinism and the “Thaw”. It shows how Gorlenko to a certain extent stretched the framework of ethnographic photography towards social documentary photography.

Sacrifice and Rebirth: The Legacy of the Last Habsburg War by Mark Cornwall and John Paul Newman

Reviewed by: Sacrifice and Rebirth: The Legacy of the Last Habsburg War by Mark Cornwall and John Paul Newman John E. Fahey Mark Cornwall and John Paul Newman, Sacrifice and Rebirth: The Legacy of the Last Habsburg War. Austrian and Habsburg Studies 18. New York: Berghahn, 2016. 295 pp. How a war ends is at least as important as how it begins. There is no lack of excellent recent scholarship on the start and course of World War I, which should be matched by work on the aftermath. Mark Cornwall and John Paul Newman's Sacrifice and Rebirth: The Legacy of the Last Habsburg War is an insightful look at the many varied veterans' groups, commemorative events and societies, political ramifications, and memorials in the former Habsburg lands. The book offers valuable perspectives on the individuals and groups most affected by the war, that is, veterans and their families who remained active in commemorative groups. Memorial activity naturally varied widely between successor states and became acutely tied up in post-Habsburg political narratives, making the memory of Austria-Hungary's unusually fragmented among the newly expanded, contracted, formed, and divided countries of east central Europe. While there have been books and articles on individual communities or nations, Sacrifice and Rebirth offers useful comparisons [End Page 149] by exploring the entire post-Habsburg world. Cornwall and Newman and their contributors find enough commonalities to argue that a shadow of the Habsburg mental space lingered on well after the war. Cornwall and Newman divide the postwar legacy of Austria-Hungary geographically between places where the war was seen as a defeat (Austria, Hungary, the Sudetenland, and Transylvania), a victory (Yugoslavia, Czechoslovakia and Romania), and a mixed state—areas annexed by new or expanded victor states (Croatia, Slovenia, Polish Galicia, and Tyrol). In all regions, individual wartime experience had to be adapted and molded into broader narratives, an exceptionally difficult task for countries like Yugoslavia or Poland, made up of former and current enemies. Catherine Edgecombe and Maureen Healy examine perhaps the most fundamental questions of interwar Austria and the former Habsburg Empire more generally. Virtually everyone in the Austrian First Republic had sacrificed in some way during the war, but for what? While interwar commemorative ceremonies and organizations offered a variety of lenses to find meaning in wartime suffering, including "fatherland," "God and religion," or just "comradeship," no interpretation was universally or even widely accepted. Naturally, this lack of a unified narrative was accompanied by a sharp rise in paramilitary and revanchist groups in Austria and Hungary, as discussed by Robert Gerwarth. In contrast to defeated Austria and Hungary, the "victor states" were usually able to create a somewhat coherent narrative of struggle and reward. This was only possible by ignoring large minority populations and producing approved memorabilia. For example, the Kingdom of Serbs, Croats, and Slovenes (Yugoslavia as of 1929) exhibited hundreds of Serbian wartime photographs from the Balkan Wars and World War I. Melissa Bokovoy's chapter examining the exhibits and accompanying photo albums shows how the Serbian ideal of militarized manhood was first created and then spread, as were narratives of wartime suffering and solidarity. This naturally prioritized the Serbian experience of war and removed Croat and Slovene memories from the national pantheon. Czechoslovakia had a similarly conflicted experience of war. Nancy M. Wingfield's chapter on interwar commemoration of the Battle of Zborov illustrates the new state's difficult position. Zborov was a minor engagement [End Page 150] during the Kerensky Offensive; as the first major action by Czechoslovak Legions, it became a key part in the new national pantheon. Of course, the accepted version overlooked the loyal Czech and Slovak forces fighting for the Habsburgs and instead focused on approved Czech soldiers and leaders to the exclusion of much of the rest of the multinational state. Katya Kocurek's chapter complements Wingfield's nicely by looking at the political activity of Legionary veterans' associations, particularly the more right-wing Independent Union of Czechoslovak Legionaries. Other countries completely overwrote the memory of World War I. For example, millions of Poles served in World War I in the armies of Austria-Hungary, Germany, and Russia. However, these victims and...

Paying Homage

Paying Homage Iris Lee Stoler (bio) Woman at the Cusp of Twilight Daniel Shapiro Dos Madres Press www.dosmadres.com/shop/woman-at-the-cusp-of-twilight-by-daniel-shapiro/ 112 Pages; Print, $17.00 Reading Daniel Shapiro's Woman at the Cusp of Twilight is similar to leafing through someone's family photo album. Most of the subjects are no longer living, and the chronology is mixed up, but the faces (and stories behind them) are inviting and real. This gives pleasure. Shapiro introduces his poetic tribute to his maternal relations with a family tree, which for me, was both positive and negative. I began by scrupulously referring back to it as I read each poem, bookmark at the ready, wanting to orient myself to all the relationships and events in their lives. However, at about one-third of the way through, I decided this method was keeping me from appreciating each poem on its own merits. And there are many merits. This book differs from Shapiro's previous book of poems, The Red Handkerchief (2014), which is lyrical and imagistic and strongly first-person. That book does contain several poetic odes to family members, but the poems dwell mostly on romantic and sexual themes. (One, "Your Name Means 'Forever'," is reminiscent of Cavafy in its elegiac, nostalgic quality.) In this book, Shapiro, as curator of this family portrait, modestly conceals the "I" for the sake of leading the reader into the lives of the characters. The voice is more-or-less evenly divided between omniscient distant narrator and direct address to an individual. The work is nicely varied; there are ten concrete poems (a wine glass, Coney Island parachute, a potato, among others), several dramatic monologues, and one ekphrastic piece ("Abe, Cast in Sepia"). Most poems focus on Shapiro's parents, aunts and uncles; a few on his grandparents; and one (a sad tale of a dead child) invokes his great grandparents. Aging, dreams deferred and eventually renounced (his mother's dance career), sibling issues, marriage, and one unhappy divorce: these are some of his subjects. In "So Much in Love" Shapiro directly addresses his mother about her lost career. He addressed this more successfully in the poem "Dance" in The Red Handkerchief, where his lineation and language fly; here the language and structure are flatter, filled with not-so-interesting details. I found this so in a minority of other poems where he seems to want to give information by "reminding" the recipient of the poem of past events. When this happens, it takes precedence over his usual concern with sight and sound, as in "Max and the Memory of Elke." But now on to all the good stuff. Concrete poetry is so tricky. It can so easily turn to visual kitsch. Shapiro's concrete poems are delightful. "The Cemetery at Torrey Pines," which contains the line that is the title of the book, is a tree-trunk-shaped description of his mother at the grave of her mother. The last line makes subtle reference once again to his mother's aborted dance career: It's the treethat appears to be dancing, rooted butswaying with abandon in the breeze. [End Page 20] "Parachute Jump" attempts perhaps a bit too much, but the unpunctuated, free-floating (pun intended) lines relate perfectly to the subject matter. (Full disclosure: I grew up in Coney Island; partiality is possible here.) Shapiro is excellent in matching his lineation and metrics to his subject matter. The abrupt short lines in "Hannah" appropriately signify the drama, tension and tragedy of the story. "The Peach Tree" is a memory piece which needs to be read out loud to get the benefit of the tempo: That branch jutting over the fenceladen with fruit— but when he looks back, no one's there,only the tangy scent of peacheshangs in the air. "Rhapsody in the Sun (Esther's Dream)" is all about Grandma meeting up with George Gershwin, and appropriately, the language swings: Scintillations. Above the water,pale-green willows hung their long hair down. It's all lovely –until the turn: Because the unbenign presence growing insidecrowded out...

Picturing History, Remembering Soldiers: World War I Photography between the Public and the Private

The centennial anniversaries of World War I have prompted a boom in publications about the war, including many recent photographic compendiums that strive to document the war in visually appealing ways. This type of historical illustration, which often borders on sensationalism, threatens to conventionalize historical narratives of the war and obscure important ethical considerations of a current encounter with the war’s violent past through images. This article draws on archival research into the personal photo albums of German soldiers in World War I to argue for an engagement with private memory of the war that can forge important empathic connections to the past as a way of adding needed nuance to the visual representation and present understanding of the war.

Under the Red Star's Faint Light: How Sakhalin Became Soviet

On 1 May 1946, the large square in front of Iuzhno-Sakhalinsk's main station was crowded with a peculiar mix of people. A photograph shows some of them dressed up as seals, holding handwritten signs in Russian and Japanese. The crowd, consisting of former Toyohara residents and newly arrived citizens from all over the USSR, had gathered to honor the heroes International Workers' Day. (1) The snapshot from a official's photo album conveys an image of friendly coexistence. However, between December 1946 and December 1949, close to 300,000 Japanese civilians, most of whom had moved to the southern part of the island in the wake of the Russo-Japanese War, were forced to leave their homes--which were then taken over by families--and to board crowded ships bound for Japan, a country some of them had never seen. Where the empires of Russia and Japan had shared zones of control since the mid-19th century, uncertainties of belonging would now be clarified. What used to be a part of Russia, then Japan, was now called Soviet, and the former Karafuto would again become southern Sakhalin. Renaming this piece of land was, however, only one step in a process of reinterpretation that was supposed to make all of Sakhalin a island. How did this process unfold in the decades after 1945? Was southern Sakhalin turned into just another administrative unit? Or was it made Soviet in a more traceable, material, visible sense? Understanding how an empire such as the Union deals with its changing periphery will improve our grasp of several issues. Obviously, it provides insights in the special case of Sakhalin, which because of its peculiar location in the North Pacific Ocean is worth knowing more about. But it also provides a useful example of the implementation of imperial strategy at the margins. In discussing one of the largest territorial empires in history, the question of how centralized control really affected the empire in its entirety can be answered only by looking at the peripheries and specific developments there. By not only looking at political change but also at cultural integration strategies and their limitations in practice, we can understand how the empire worked on the ground. This approach also reveals more abstract insights into the Unions place within the broader history of empires. (2) The island of Sakhalin, situated a few miles off the eastern coast of the Eurasian continent in the North Pacific Ocean, was originally inhabited by Ainu, Oroks, Nivkhs, and other indigenous peoples. (3) Because early episodes of Chinese rule the island have mostly been ignored by Sakhalin's residents to this day, the island is said to have been discovered by Japanese and Russian sailors in the 17th century. (4) In 1853, following almost two centuries of disinterest, the Russian naval captain Gennadii Ivanovich Nevel'skoi founded the first permanent settlement the western coast. The Treaty of Shimoda, which was signed by Russia and Japan in 1855, declared that both nationalities could inhabit Sakhalin. During the following decades, the disputes between Russia and Japan over the affiliation of the island slowly escalated. In the Treaty of St. Petersburg of 1875, Meiji Japan lost Sakhalin to tsarist Russia in exchange for the Kurile Islands. Engaged in rapid and radical modernization at home, Japan was forced to give up the island but was able to maintain important privileges for Japanese traders, fishermen, and settlers. (5) By the early 20th century, Sakhalin had become the biggest penal colony of the Russian Empire. Exiles from all over the country were banished to Sakhalin, where they were subjected to forced labor (katorga) and lived in dreadful conditions. (6) As a penal colony, the island was only sparsely populated and hardly economically developed. Only with the Japanese occupation of the entire island during the Russo-Japanese War of 1904-5 did Sakhalin draw St. …

La visualité digitale dans la construction d’identité culturelle : Notes du Festival des Arts Pacifique

In July 2012 in Solomon Islands, 27 different Pacific nations came together for two weeks for the 11th Festival of Pacific Arts to express and articulate their traditions in their present forms for other Pacific Islanders (few non-Pacific Islanders attended the event). The festival was all about producing, reproducing and transforming Pacific identities, and much of this took an explicitly visual form, which the festival context fully supported. Cameras were everywhere and shooting was continuous both in photography and video, among the audience, the performers and the organizers as well. The photos were quickly transformed into YouTube, Facebook and offline video files, Flickr photo albums and countless other forms and formats shared among and between Pacific communities online and offline. The paper analyses this visual production in the cultural framework of Rennell and Bellona Islanders that the author has been working with. In particular, it highlights issues of cultural identity construction and aspects of cultural agency related with this visual production in the context of the overall modernization of the Solomon Islands society.

KODAK PROFESSIONAL ENDURA Premier Paper for the Premium Photo Book Market

There are a wide range of digital print technologies available today for use in photo books. This includes Inkjet, Electro Photographic, Dye Sublimation and Silver Halide. Silver halide paper, incorporates imaging technology and image quality that allows print providers to exceed consumer expectations for photo book image quality and the ability to offer a premium product in this growing, but crowed category. KODAK PROFESSIONAL ENDURA Premier Paper is a silver halide photographic paper which incorporates new technology specifically for digital printing and continues to advance the state of the art of silver halide technology. Within the growing photo book market, the use of ENDURA Premier Paper provides the optimal balance of high image quality, long-term permanence, high productivity, and low cost, a combination that is sure to delight consumers. This paper will discuss the use of silver halide technology in the production of photo books, and specifically how KODAK PROFESSIONAL ENDURA Premier Paper, meets the needs of the premium photo book market. In addition, the paper will discuss the critical attributes for longevity and the performance that KODAK PROFESSIONAL ENDURA Premier Paper provides when used in the creation of photo books. With premium photo books becoming the photo album of the 21st century, consumer needs for long-term preservation of digital image files have never been more important than they are today.

Esthetic perception of smile components by orthodontists, general dentists, dental students, artists, and laypersons.

In the present study, we sought to assess the esthetic perception and level of acceptability of variations in smile components, including dental midline, buccal corridor, vertical lip thickness, and the golden ratio, by orthodontists, general dentists, dental students, artists, and laypersons. An attractive female smile was digitally manipulated with regard to four smile components: dental midline, buccal corridor, vertical lip thickness, and the golden ratio. The manipulated photographs (n=27) were randomly arranged in a photo album and scored by five groups of raters (n=50 in each group) from zero to 100 using a horizontal visual analog scale. The acceptability threshold of each component by the five groups was calculated using the Spearman and Wilcoxon tests. Orthodontists and laypersons had the same perception of midline deviations, with an acceptability threshold lower than that of artists and general dentists. Only orthodontists perceived variations of buccal corridor (by 20%). Changes in vertical lip thickness were not perceived by any group. Orthodontists, general dentists, and laypersons had similar perceptions of variations in the golden ratio. Dental students and artists did not perceive variations in this component. Professional dental training can affect the esthetic judgement of smiles in individuals.