Analyzing the visual syntax and display rhetoric applied in newspaper photos, national historical albums, and museum exhibitions, Noa Hazan shows that although racial thought was and still is verbally suppressed in Israel, it is vividly present in its nonverbal official and public visual sphere. The racist perspective of newspaper editors, book publishers, photographers, and museum curators were morally justified in its time by such patronizing ideals as realistic news coverage or the salvation of Jewish heritage assets. Although their perspectives played a dominant role in establishing a visual syntax of race in Israel, they were not seen as racially discriminating at the time. The racist motifs and actions are revealed here by colligating multiple cases into a coherent narrative in retrospect. This book points to a direct influence of the anti-Semitic discourse in Europe toward Mizrahim in Israel, highlighting the shared visual stereotypes used in both Europe and the fledgling state of Israel. Engraved in their body, these cultural traits were depicted and understood as racial-biological qualities and were visually manipulated to silo Ashkenazim and Mizrahim in Israel as distinct racial types.

De-Illustrating the History of the British Empire aims to offer a timely and inclusive contribution to the evolving cross-disciplinary scholarship that connects visual studies with British imperial historiography. The key purpose of this book is to introduce scholars and students of British imperial and Commonwealth history to a clearly presented and diversely themed evaluation of several "visual manuscripts" – images of all genres depicting particular events, personalities, social and cultural contexts – that document the development of some of the British imperial and post-colonial visual literacies history. The concept of "visual manuscripts" alongside theories of visual anthropology and memory studies are addressed across the entire volume thus allowing the readers to approach with greater ease the discourse on imperial iconography and historiography.

How do we live ethically? What role do sex and race play in living or being ethically? Can ethics lead to ontology? Can literature play a role in ethical being? Drawing extensively on the work of Luce Irigaray, Frantz Fanon, and Martin Heidegger, Penelope Ingram argues that ethical questions must be understood in light of ontological ones. It is only when sexual and racial difference are viewed at an ontological level that ethics is truly possible. Central to the connection between ontology and ethics is the role of language. Ingram revisits the relationship between representation and matter in order to advance a theory of material signification. She examines a number of twentieth-century film and literary texts, including Neil Jordan's The Crying Game, J. M. Coetzee's Foe, Toni Morrison's Paradise, and Don DeLillo's The Body Artist, to demonstrate that material signification, rather than representation, is crucial to our experience of living authentically and achieving an ethical relation with the Other. By attending closely to Heidegger's, Irigaray's, and Fanon's positions on language, this original work argues that the literary text is indispensable to a "revealing" of the relationship between ontology and ethics, and through it, the reader can experience a state of "authentic Being ethically."

Visually Situated Language Comprehension has been compiled as a state-of the-art introduction to real-time language processing in visually-situated contexts. It covers the history of this emergent field, explains key methodological developments and discusses the insights these methods have enabled into how language processing interacts with our knowledge and perception of the immediate environment. Scientists interested in how language users integrate what they know with their perception of objects and events will find the book a rewarding read. The book further covers lexical, sentence, and discourse level processes, as well as active visual context effects in both non-interactive and interactive tasks and thus present a well-balanced view of the field. It is aimed at experienced researchers and students alike in the hopes of attracting new talent to the field. Thanks to its in-depth methodological introduction and broad coverage it constitutes an excellent course book.

Contributions by Lawrence Abrams, Diana Álvarez Amell, Partha Bhattacharjee, Natalja Chestopalova, Jim Coby, Rita Costello, Sam Cowling, Joanna Davis-McElligatt, Elisabetta Di Minico, Kiera M. Gaswint, Vincent Haddad, Kaleb Knoblauch, Christina M. Knopf, Leah Milne, Jacob Murel, Priyanka Tripathi, and Steven S. Vrooman In 1954, the culture, distribution, and content of comics forever changed. Long a mainstay of America’s reading diet, comic books began to fall under the scrutiny of parent groups, church leaders, and politicians. The bright colors and cheaply printed pulp pages of comic books that had once provided an escape were suddenly presumed to house something lascivious, insidious, and morally corrosive. While anxieties about representations of violence in comics have largely fallen to the wayside since the moral panic of the 1950s, thematic and symbolic visual depictions of violence remain central to the comics form. BOOM! SPLAT! Comics and Violence examines violence in every iteration—physical violence enacted between people and their environments, formal and structural violence embedded in the comics language itself, representations of historical violence, and ways of reading and seeing violence. BOOM! SPLAT! is composed of fifteen essays from renowned comics scholars and is organized thematically into four sections, including an examination of histories of violence, forms of violence, modes and systems of violence, and political and social violence. Chapters focus on well-known comics and comics creators, such as Steve Ditko, Hulk, X-Men, and the Marvel universe, to newspaper cartoon strips, postwar graphic novels, revolution, civil rights, trauma, #blacklivesmatter, and more. BOOM! SPLAT! serves as a resource to scholars and comics enthusiasts who wish to contemplate and confront the permutations, forms, structures, and discourses of violence that have always animated cartoons. Through this interrogation, our understanding of violence moves beyond the immediately physical and interpersonal into modes of ephemeral, psychological, and ideological violence. Contributors fill critical gaps by offering sustained explorations of the function of manifold violences in the comics language—those seen, felt, and imagined. The essays in this collection are critically necessary for understanding the current and historical role that violence has played in comics and will help recognize how cartooning imbricates, resists, and expands our thinking about and experiences of violence.

The fear and violence that followed the events of September 11, 2001 touched lives all around the world, even in places that few would immediately associate with the global war on terror. In At the Limits of Justice, twenty-nine contributors from six countries explore the proximity of terror in their own lives and in places ranging from Canada and the United States to Jamaica, Palestine/Israel, Australia, Guyana, Chile, Pakistan, and across the African continent. In this collection, female scholars of colour – including leading theorists on issues of indigeneity, race, and feminism – examine the political, social, and personal repercussions of the war on terror through contributions that range from testimony and poetry to scholarly analysis. Inspired by both the personal and the global impact of this violence within the war on terror, they expose the way in which the war on terror is presented as a distant and foreign issue at the same time that it is deeply present in the lives of women and others all around the world. An impassioned but rigorous examination of issues of race and gender in contemporary politics, At the Limits of Justice is also a call to create moral communities which will find terror and violence unacceptable.

Abstracts of dissertations available on microfilm or as xerographic reproductions.

GORGEROUS - gorgeous, dangerous, glamourous and sometimes scandalous - features Ujinos self-built LOVE ARM electric instruments and Matsukages inflated rock persona. In 1997 Matsukage teamed up with Muneturu Ujino, whose background lay in graphics, photography, and music. Together they created a collaborative live performance "art-unit": a two-man band they called "Gorgerous" (a combination of "gorgeous" and the dinosaur suffix "saurus"). Borrowing and bending the grammar of Western Rock Music and Japanese Techno- Punk, the Gorgerous phenomenon cuts across cultural boundaries of East/West, male/female, high art/mass culture, and nature/artifice. This is their story. Their catalogue.