Black and White and Red All Over: The Sonnet Mistress Amongst the Ndembu*

1987 ◽  
Vol 40 (2) ◽  
pp. 247-297 ◽  
Author(s):  
Linda Woodbridge
Keyword(s):  
Terminally Ill ◽  
Love Poetry ◽  
White Skin ◽  
Black And White ◽  
Figures Of Speech ◽  
Feminine Beauty ◽  
Snow White ◽  
White Campion ◽  
White Face ◽  
Short Hand

Among terminally ill figures of speech, the cliché of rosy cheeks, ruby lips, and snow-white skin may be counted downright deceased. Even in medieval and Renaissance love poetry, roses in the cheeks, lips like cherries or rubies, skin like ivory, lilies, or snow were stiffly conventional: freshness of complexion prompted no freshness of metaphor. The mistress's red-and-white face was relentlessly emblazoned, “red and white” becoming a short-hand notation for feminine beauty: “With lilies white / And roses bright / Doth strive thy colour fair” (Wyatt 65); “Fair is my love … / A lily pale, with damask dye to grace her” (Passionate Pilgrim no. 7); “Thou art not fair for all thy red and white” (Campion 264). The mistress in Spenser's Amoretti has “ruddy cheekes” and “snowy browes” (no. 64); the bride in his Epithalamion is a vision in red and white—cheeks like sun-reddened apples, lips like cherries, forehead like ivory, “breast like to a bowle of creame uncrudded, / Her paps lyke lyllies budded, / Her snowie necke”; when she blushes, “the red roses flush up in her cheekes, / and the pure snow with goodly vermill [vermillion] stayne, / Like crimsin dyde” (Il. 172-7, 226-8).

Commemorating the Ancestors, Performances of Death at the Tucson All Souls Procession

2016 ◽  
Author(s):  
Rachel Bowditch
Keyword(s):  
Large Scale ◽  
Safety Net ◽  
Clear Distinction ◽  
Black And White ◽  
Day Of The Dead ◽  
White Face ◽  
Visual Landscape ◽  
The Dead ◽  
Dense Crowd

At dusk close to 100,000 people clad in black and white face paint and hand-made costumes emerge from all directions marching along a two-mile procession route from Hotel Congress in Tucson, Arizona to the finale site carrying puppets, banners, effigies, floats and posters with photographs of the dead of all shapes and sizes. Crowds of people line the streets; however unlike the Macy’s Day Thanksgiving Parade and other official processions, there are no street barriers separating those marching in the procession and those observing; the lines are porous and blurred. Participants move fluidly in and out of the procession between spectating and marching: dancing, drumming and walking. There is no clear distinction between sidewalk and street; between official performers and spectators—everyone is a participant. There is a somber sense of excitement and anticipation. A large-scale sculptural urn assisted by guardians from the performance troupe Flam Chen weaves through the dense crowd collecting hand-written prayers and offerings from passersby. Day of the Dead motifs of black and white skeletons, flowers, and masks dominate the visual landscape mixed with a fusion of hybrid imagery that evokes death, memory and celebration. Suspended weightlessly above a crowd of fire-lit faces, a figure moves gracefully without a safety net, wrapping her body in aerial silks tethered to helium balloon clusters. Stilted figures in ornate hand-constructed costumes twirl fire to the thundering beating drum. Costumed figures scale the metal tower with torches to light the large paper mache urn, which is filled with the prayers of the entire community. Flames lick up the sides of the urn transforming it into a ball of raging fire; the crowd cheers as they watch their prayers ascend into the darkness. This ritual burning of the urn signifies the culminating act of the Tucson All Souls’ Procession. Flam Chen, pyrotechnic performance troupe from Tucson and Many Mouths One Stomach, the organizers of the event, stage a fire aerial performance followed by the symbolic burning of the urn filled with the community’s prayers and wishes.

Subliminal Exposure to Putrescine Does Not Affect Aggressiveness Judgments for Male Faces Varying in Race and Facial Width-to-Height Ratio

2018 ◽  
Author(s):  
Michael D. Anes ◽  
Richard W. York
Keyword(s):  
Life History ◽  
Olfactory Cues ◽  
Height Ratio ◽  
Black And White ◽  
White Face ◽  
Universal Relationship ◽  
Face Stimuli ◽  
Human Faces ◽  
The Relationship ◽  
Black Faces

We discuss two relatively understudied yet important phenomena relevant to the ecologically crucial task of gathering reliable information from human faces. First, facial width-to-height ratio (fWHR) predicts aggressiveness judgments and is associated with aggression-related behavior and life history outcomes. A significant body of research indicates fWHR is an honest evolutionary signal of propensity to aggression yet little is known about how or if this signal is preserved in judgments across race boundaries. Evidence for a universal relationship between increased fWHR and enhanced aggression perception has been found using Asian and white face stimuli, but race moderated the relationship between high fWHR and ratings in a pain ascription task using black and white faces. Second, we examine research on olfactory cues to face perception and focus particular attention on the possibility that face judgments may be influenced by putrescine, an organic compound found recently to heighten threat and escape-related cognitions in a single subliminal odor presentation study. Here we probe how fWHR and face race interact in aggression judgments during subliminal exposure to putrescine and a control condition. We present a standardized method of subliminal putrescine delivery and find null effects of putrescine on face judgments. Overall, our primarily white participants show a reduced difference in aggressiveness ratings to black faces from low to high levels of fWHR compared to the same contrast in white face stimuli, consistent with an account in which black faces are not perceived with the same configural precision as white faces.

Beyond Death and Dying

The Group ◽  
2018 ◽  
Author(s):  
Donald L. Rosenstein ◽  
Justin M. Yopp
Keyword(s):  
Public Discourse ◽  
Death And Dying ◽  
Terminally Ill ◽  
General Interest ◽  
State University ◽  
Black And White ◽  
Terminally Ill Patients ◽  
National Conversation ◽  
The Status ◽  
Moon Landing

In the late 1960s, LIFE magazine was one of the most widely read and influential periodicals in the world. Renowned for its photojournalism, the general-interest magazine covered all aspects of American life. The November 21, 1969, edition was no exception. It included a review of what would be The Beatles’ final studio album, a profile of Ohio State University head football coach Woody Hayes, and an advertisement for a commemorative book on that summer’s moon landing. It also featured an article on a little-known University of Chicago psychiatrist, Dr. Elisabeth Kübler-Ross, and her groundbreaking work with terminally ill patients. In an era when public discourse about death and dying was almost non-existent and when many physicians believed that a patient was better off not knowing his or her prognosis, Kübler-Ross was encouraging candid and open conversations with people about their impending deaths. Her innovative approach and courage to challenge the status quo drew the interest of LIFE editor Loudon Wainwright. His captivating story introducing Kübler-Ross and her new book, On Death and Dying, would forever change the national conversation about end-of-life and grief. The article described Kübler-Ross’s seminar teaching clinicians about the experiences of terminally ill patients. Physicians, nurses, chaplains, and medical students watched through a one-way mirror as she interviewed a twenty-two-year-old woman who had been diagnosed just two weeks earlier with leukemia, which at that time was almost always fatal. Large black-and-white pictures of the patient showed a vibrant and beautiful young woman with long hair and a wide smile. She looked nothing like someone close to death, which in some ways was the point. She talked about her diagnosis and understanding that leukemia would almost certainly kill her. Her willingness to openly discuss the prospect of her own death must have been astounding to those observing the interview. Kübler-Ross theorized that people facing their own mortality proceed through five stages prior to their death. In the first stage, the person is unable or unwilling to accept that he or she is going to die (Denial).

My Computer Made Me Cry

Digitized ◽  
2012 ◽  
Author(s):  
Peter J. Bentley
Keyword(s):  
Research Centre ◽  
Black And White ◽  
The World ◽  
White Face ◽  
Physical Interfaces ◽  
Human Intellect ◽  
Visual Interfaces ◽  
Research Institute

When a tool can be used for everything, how do we design that tool so that we can use it most effectively? The cleverest machine in the world will do nothing for us if we cannot interact with it. We need interfaces to the digital minds we create. Physical interfaces that turn our movements into input. Visual interfaces that enable us to interrelate, turning images into two-way communication. When those interfaces are good enough, we may become immersed into the digital universes of our machines, giving us amazing new experiences. Or they may allow computers to become seamlessly integrated into our lives, as ordinary as a pair of glasses. When the interface is emotional, perhaps they will give us joy, motivate us when we are fearful, or comfort us when we are sad. But how far do we want our integration with technology to go? We are already becoming cyborgs – fusions of human and machine. If computers know our every secret, how can we protect ourselves from being influenced in ways we do not want? . . . A black and white face fades into view on the screen. A slim middleaged man with neatly combed-back hair is talking with a stiff 1960s Oregon accent. Hooked over his right ear he wears a modern-looking earpiece with microphone attached. He is speaking about his programme of research at Stanford. ‘If in your office you, as an intellectual, were supplied with a computer display, backed up with a computer that was alive all day and was instantly responsible…’ He pauses, looks up and smiles. ‘Responsive. Instantly responsive to every reaction that you have—how much value could you derive from that?’ You can tell he is excited and nervous to be speaking in front of a thousand people, but the years of lecturing has given his voice the tone of a practised speaker. ‘Well this basically characterizes what we’ve been pursuing for many years in what we call the Augmented Human Intellect Research Centre at Stanford’s Research Institute. ‘Fortunately the products of this programme, the technology of it, lends itself well to an interesting way to portray it for you.

scholarly journals Face markings in Northern chamois: cues of dominance?

2020 ◽  
Vol 100 (5) ◽  
pp. 559-565
Author(s):  
Luca Corlatti ◽  
Stefano Sivieri
Keyword(s):  
Body Mass ◽  
Color Contrast ◽  
Multilevel Regression ◽  
Hunting Season ◽  
Distinctive Features ◽  
Black And White ◽  
Horn Length ◽  
Behavioral Studies ◽  
White Face ◽  
Intraspecific Communication

Abstract Black and white face markings in Artiodactyls are thought to be broadly associated with intraspecific communication. Evidence-based studies on the fine-scale mechanisms of signaling, however, are scant. The occurrence of black and white face markings is one of the most distinctive features of the Northern chamois Rupicapra rupicapra. Although their function is unknown, they might possibly signal fighting abilities: if so, the intensity of face color contrast should positively correlate with traits involved in aggressive contests, i.e. body mass and horn size. We collected data on face marking ‘blackness’ as a proxy of color contrast, dressed body mass and horn length on 103 chamois of either sex harvested during the hunting season of 2019 in the central Italian Alps. To investigate the relationship between color contrast and sex-specific body mass and horn length, we fitted an ordinal multilevel regression model in a Bayesian framework. Contrast score positively associated with increasing body mass in both sexes, but this relationship was much stronger in females than in males. Contrast score positively related with horn length in males but not in females. Our results offer some first insights into the potential correlates of chamois facial mask, suggesting that face markings might provide age-specific cues of mass-based dominance in females, while their role in males appears more uncertain. Behavioral studies on marked or hunted individuals in different environmental settings are necessary to confirm these findings, and provide further understandings of face color patterns in chamois.

scholarly journals 'Flying Checkerboard' a delight to watch

Blue Jay ◽  
2017 ◽  
Vol 75 (3) ◽  
pp. 5
Author(s):  
Donna Gamache
Keyword(s):  
Black And White ◽  
Snow White ◽  
Melanerpes Erythrocephalus

Have you seen a 'flying checkerboard' recently? That is one of the names for the Redheaded Woodpecker (Melanerpes erythrocephalus). With its crimson head, snow-white body, and black and white wings, I can see why it is called this, especially when it is flying.

Black and White Skin Diseases: An Atlas and Text

1998 ◽  
Vol 134 (8) ◽  
pp. 1047-a-1048
Author(s):  
D. A. Scott
Keyword(s):  
Skin Diseases ◽  
White Skin ◽  
Black And White
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