1,381 research outputs found
Confused Teachers to G. Wellington Cook (5-25-44) [Guy W. Cook]
No full text[humorous memo re angle of windows in classrooms]https://scholarlycommons.pacific.edu/cook-nisei/1214/thumbnail.jp
Confused Teachers to G. Wellington Cook (5-25-44) [Guy W. Cook]
No full text[humorous memo re angle of windows in classrooms]https://scholarlycommons.pacific.edu/cook-nisei/1214/thumbnail.jp
[Exhibitor's Ticket, State Fair of Texas, 1913, Guy Nunnelly]
No full textRecto: [imprinted] Exhibitor's Ticket, State Fair of Texas, Dallas, Texas. 1913. [handwritten] Guy Nunnelly. Verso: [stamped] State Fair of Texas, Dallas. Oct. 18 to Nov. 2, 1913
[Exhibitor's Ticket, State Fair of Texas, 1915, Guy Nunnelly]
No full textRecto: [imprinted] Exhibitor's Ticket, State Fair of Texas, Dallas, Texas. [handwritten] Guy Nunnelly. Verso: [stamped] State Fair of Texas. Dallas. Oct.16 to Oct. 31, 1915
Spectacular Developments: Guy Debord's Parapolitical Turn
No full textFollowing the attacks of September 11th, 2001, Guy Debord’s concept of ‘the
spectacle’ re-emerged in the work of a variety of theorists as a critical prism through
which the attacks and subsequent ‘War on Terror’ could be approached. Debord’s
first book on the spectacle (1967) was written in the context of France’s post-war
boom; his later reflections, contained in a series of minor works written throughout
the seventies and eighties, are heavily influenced by Italy’s ‘Years of Lead’ and a
broader geopolitical climate of armed struggle, terrorism, counter-insurgency and
espionage. Nearly all post-9/11 invocations of Debord’s concept draw on the version
elucidated in Debord’s 1967 book, with its emphasis on commodity fetishism,
ideology, and alienation, and fail to engage his later work and its focus on terrorism,
secrecy, and conspiracy. Among those that do in fact reference Debord’s later work
are several writers whose work could pejoratively be labelled ‘conspiracy theory’.
Looking at Debord’s oeuvre as whole, and investigating how it combines a critique of
late capitalism in its totality with parapolitcal concerns of ‘systemic clandestinity’,
Spectacular Developments: Guy Debord’s Parapolitical Turn provides a bolstered
conception of the spectacle that aims to reconfigure the conceptual foundations of this
debate. This conception of the spectacle allows one to approach the 9/11 attacks and
all that followed in their wake with both a precision and a breadth lacking in these
other works, demonstrating the superficiality of readings that make the concept
synonymous with the mass media or that attempt to unravel nefarious conspiracies of
power. Simultaneously, this approach foregrounds the epistemological and strategic
challenges faced by researchers, politicians and activists working in and on the
society of the spectacle
Cook, Downie and Redmond Receive Dalton Award, 1979
No full textb&w photographGood condition: blue crop lines drawn across picture, some dents, tape on back is yellowed and peeling.A group of five people stand in front of shelves of books. From left to right are James G. Cook, Brian W. Downie, Judith A. Redmond (Arts class of 1979), Mrs. Kay Dalton, and the Chairman of the Political Science Dept., Dr. Guy Chauvin.Stamped on back in black ink: 'Saint Mary's Information Services'. Written in blue pen '78-79', in red pen '10%' and in green marker '#3'. Caption taped to back reads: 'L. to R.: James G. Cook, Brian W. Downie, Judith A. Redmond, Mrs. Kay Dalton, and the chairman of the Political Science Department, Dr. Guy Chauvin'. Written in pencil on the caption is 'Dalton award'
Get Well Letter to Ruby Doris Smith From Guy, Candie, and Evan Carawan, circa 1967
No full textGet-well letter to Ruby Doris Smith from Guy Carawan, Candie Carawan, and Evan. 2 pages
Where is She – the Author?
No full textArtykuł jest recenzją książki Małgorzaty Radkiewicz Refleksje zza kamery. Reżyserki o kinie i formie filmowej (2022), która prezentuje twórczość teoretyczną sześciu artystek filmowych. Są to: Alice Guy-Blaché (1873-1968), Germaine Dulac (1882-1942), Maya Deren (1917-1961), Laura Mulvey (ur. 1941), Trinh T. Minh-ha (ur. 1952) i Alexandra Juhasz (ur. 1964). Autorka skupia się na szczegółowym przedstawieniu wybranych tekstów tych twórczyń i wprowadzeniu w ich refleksję o filmie. Radkiewicz deklaruje, że jej celem jest podkreślenie ich obecności i znaczenia w historii myśli filmowej. W książce brakuje jednak podejścia krytycznego, pozwalającego na większe zdialogizowanie poszczególnych rozdziałów, a w ich obrębie – na odniesienia do kontekstu współczesnego i dzisiejszej teorii.The article is a review of the book Refleksje zza kamery. Reżyserki o kinie i formie filmowej [Reflections from Behind the Camera: Female Directors on Cinema and Film Form] (2022) by Małgorzata Radkiewicz, which presents the theoretical work of six female film artists: Alice Guy-Blaché (1873-1968), Germaine Dulac (1882-1942), Maya Deren (1917-1961), Laura Mulvey (born 1941), Trinh T. Minh-ha (born 1952), and Alexandra Juhasz (born 1964). The author focuses on presenting these artists’ selected texts in detail and introducing readers to their reflections on film. Radkiewicz declares that her goal is to emphasize their presence and importance in the history of film thought. However, the book lacks a critical approach that would allow for a greater dialogue between individual chapters and, within them, for references to the contemporary context and present-day theory
Meriko Nadama, Miyazaki, Japan (9-17-46) [postcard; from repatriate Nisei] [Meriko Nadama]
No full textPostcard from Meriko Nadama, a repatriated Japanese American living in Miyazaki, Japan, to Mr. & Mrs. Guy W. Cook dated September 17, 1946.https://scholarlycommons.pacific.edu/cook-nisei/1210/thumbnail.jp
Meriko Nadama, Miyazaki, Japan (9-17-46) [postcard; from repatriate Nisei] [Meriko Nadama]
No full textPostcard from Meriko Nadama, a repatriated Japanese American living in Miyazaki, Japan, to Mr. & Mrs. Guy W. Cook dated September 17, 1946.https://scholarlycommons.pacific.edu/cook-nisei/1210/thumbnail.jp
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