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Glücksmarke, Thekla, Therese, 13660
No full textGLÜCKSMARKE, THEKLA, THERESE, 13660
Glücksmarke, Thekla, Therese, 13660 ( -
Glücksmarke, Flora, Franziska, 13660
No full textGLÜCKSMARKE, FLORA, FRANZISKA, 13660
Glücksmarke, Flora, Franziska, 13660 ( -
Meiers, J, 13660
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/404606Surname: MEIERS. Given Name(s) or Initials: J. Military Service Number or Last Known Location: 13660. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 57919.241465
Item: [2016.0049.36889] "Meiers, J, 13660
[Review of] Mine Okubo. Citizen 13660
Get PDFCitizen 13660, first published in 1946, is part of the scant first-person record of Japanese American experience in the first half of the twentieth century. Like S. Frank Miyamoto\u27s Social Solidarity Among the Japanese in Seattle (1939, repr. 1984) and Toshio Mori\u27s Yokohama, California (1949, repr. 1986), Okubo\u27s book has been given new life by the University of Washington Press
'My thoughts shifted from the past to the future': Time and (autobio)graphic representation in Miné Okubo’s Citizen 13660
Get PDFThis article explores time in Miné Okubo’s graphic memoir Citizen 13660. Drawing on the work of Homi Bhabha, and comics scholars like Thierry Groensteen, it argues that Okubo’s complex representation of time serves several functions. First, it undermines expectations of the linear memoir form by making links between different panels, thus forcing the reader to reconsider historical continuities and breaks. Secondly, it shows how authority figures responsible for the internment of Japanese Americans during World War II consciously manipulated ideas of time, history and lineage in order to cast Japanese Americans as dangerous others. Thirdly it reveals, how ironic contrasts between words and images in Citizen 13660 serve to undermine racialized ideological constructions and begin to deconstruct hegemonic ideas about national identity and belonging
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Reclaiming Identity: Miné Okubo\u27s Self-Portraiture and Authorship in Citizen 13660
No full textIn this thesis, I argue that Miné Okubo\u27s repeated self-portraiture in Citizen 13660 asserts her authority of the soul author of the text, forcing her reader to acknowledge the perspective in which the story is being told. Through the images of herself, she makes clear the fact that the story is filtered through her personal experience, rather than the widely accepted understanding that the novel is a universal story. While the written account strives for a sense of objectivity, the images of Okubo, especially when analyzed through the context of her contemporaries, including comics and photographers, shows how her work focuses on a creation of self and the centrality of authorial voice. Working within some of the traditions of other artists, her intentional subversion of others clearly states her intentions, particularly through her use of direct eye contact within the images. This allows her to confront her viewer, proving a counter narrative to the other depictions of the incarceration while making herself the central figure of each scene. Her work is not only a historical document, but a collection of personal and group portraiture to remind her reader of the individual lives affected by the Japanese American Incarceration. The hybrid text offers a nuanced understanding of how her individual experience impacts the way that she told her story and in turn the way that the audience understands her role as an author and artist
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