Visual preference for abstract curvature and for interior spaces: Beyond undergraduate student samples.

2020 ◽  
Author(s):  
Letizia Palumbo ◽  
Giulia Rampone ◽  
Marco Bertamini ◽  
Michele Sinico ◽  
Eleanor Clarke ◽  
...  
Keyword(s):  
Undergraduate Student ◽  
Visual Preference ◽  
Interior Spaces

Increasing undergraduate student retention rates

1995 ◽  
Vol 23 (2) ◽  
pp. 161-172 ◽  
Author(s):  
Barbara Rickinson ◽  
Desmond Rutherford
Keyword(s):  
Student Retention ◽  
Undergraduate Student ◽  
Retention Rates

Social critical thinking among undergraduate student: An examination of the relation to learning motivational factors

2006 ◽  
Author(s):  
Shuichi Hirooka ◽  
Yoshifumi Nakanishi ◽  
Katsunori Ida ◽  
Sachiyo Yokoya
Keyword(s):  
Critical Thinking ◽  
Undergraduate Student ◽  
Motivational Factors ◽  
Social Critical

Gender Differences in Undergraduate Student Medication Side Effect Concerns

2006 ◽  
Author(s):  
George A. Gaither ◽  
Rachel Wix ◽  
Christine Skow
Keyword(s):  
Gender Differences ◽  
Undergraduate Student ◽  
Side Effect ◽  
Medication Side Effect ◽  
Medication Side

Undergraduate student change in cultural competence: Impact of a multicultural psychology course.

2018 ◽  
Vol 4 (2) ◽  
pp. 81-92 ◽  
Author(s):  
Christina A. Patterson ◽  
Lesther A. Papa ◽  
Alexandra K. Reveles ◽  
Melanie M. Domenech Rodríguez
Keyword(s):  
Cultural Competence ◽  
Undergraduate Student ◽  
Multicultural Psychology ◽  
Student Change ◽  
Psychology Course

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

Interior Spaces

2002 ◽  
Keyword(s):  
Interior Spaces
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