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Sign on Payne Elementary School fence
No full textA small, white sign advertising an 'Easter Bunny Wave' hangs on the black fence. The Payne Elementary School sign and a red brick school building stands in the background.Cataloger note: Some description information from original caption
Pluralism, publicity, and scholarly practice
No full textNew Perspectives, Volume 27, Issue 2, 1 June 2019, Pages 115-122
Statue of Franklin Delano Roosevelt wearing a face mask
No full textA statue of Franklin Delano Roosevelt in his wheelchair wearing a face mask, located at the Franklin Delano Roosevelt Memorial
Community guide to legal issues in natural resources management manual: a How-to manual for community activists in Cambodia to realize their legal rights in natural resource management
No full textThe community guide to legal issues in natural resources management is a guide to empowering local communities and indigenous peoples to engage in decision-making related to their land by using participatory Land Use Impact Assessments (LUIA)
Sign at the Hill Cafe
No full textSign at the Hill Cafe on 15th Street NE that reads, 'Customers, please do your part in preventing the spread of COVID-19 by entering with a mask and maintaining a 6 foot distance from other customers. We greatly appreciate your cooperation.' The words 'entering with a mask and maintaining a 6 foot distance from other customers' are emphasized in red
Guest editorial special issue on recent advances in theory, methodology, and applications of imbalanced learning
No full textIEEE Transactions on Neural Networks and Learning Systems, Volume 31, Issue 8, August 2020, Article number 9154834, Pages 2688-2690
Line of people waiting to enter the Lowe's
No full textA line of people waiting to enter the Lowe's home improvement store, with traffic cones set out to designate safe distances between customers
Person wearing a mask and gloves waves at the camera
No full textA person wearing a mask and gloves waves at the camera in front of crates of apples at the Cleveland Park Farmers Market
Postscript: a theory of access revisited
No full textSociety and Natural Resources, Volume 33, Issue 2, 1 February 2020, Pages 300-306.The articles in this volume conceptually and empirically engage and extend our ‘theory of access’ (Ribot and Peluso 2003) through theoretically informed grounded analysis. The articles nuance our repertoire of access mechanisms, suggesting ways to think more deeply and broadly with the concept. They provide an array of new applications and scales at which the analysis of access pertains under changing political economic and environmental circumstances. This helps clarify the origins of environmental problems and conflicts. Several show how the analysis of access helps us understand patterns of resource distribution, sites of struggle over power and authority, and ways that our notion of “webs of power” could be more effectively structured and defined. In this essay we reflect on how this special issue expands our thinking on power and authority, access maintenance and control, distinctions between access and property, and scales of analysis
Marie-Guillemine Benoist’s Portrait of a Black Woman (1800) as Tête d’Éxpression
No full textIs Marie-Guillemine Benoist’s Portrait of a Black Woman (1800) an affirmational portrait of an individual? Or is it a vehicle for a racially-charged stereotype? I argue that the painting is suspended between these possibilities, largely because Benoist was trying to represent a newly acknowledged category of person: the Black female citizen. The painting’s ambiguities—its strange combination of physical specificity with generalization or typology—stem from the lack of precedents for the depiction of a free, equal Black woman. This brings me to my second contention: that Benoist turned to the genre of the tête d’expression (“expressive head”) as a way to represent her sitter. Developed by painter and theorist Charles Le Brun (1619-1690), the tête d’expression is a sub-genre related to history painting. Straddling portraiture and history painting, the tête d’expression was a crucial tool for artists to practice depicting a range of different facial expressions. The genre was also, at this time, particularly associated with women artists, who used it to demonstrate their mastery of human physiognomy and anatomy, and to display their skill without appearing overly ambitious or indecorous. I argue that by changing the identification of this painting from a “portrait” to a “tête d’expression,” we can better understand the tensions between allegory and specificity in Portrait of a Black Woman. In turn, this furthers our understanding of Benoist’s ambitions and inventiveness as a female artist.Art historyArtDegree Awarded: M.A. Art. American Universit