With the 75th anniversary of 1945 barely in our cultural rearview mirror, the generations who experienced World War II firsthand have ceded their stories to the generations that follow. This article focuses on the 1945 bombings of Japan, particularly the atomic bombings of Hiroshima and Nagasaki. Those who experienced the bombings, known generally and collectively as hibakusha, worked to preserve accounts of their experiences in acts of transmission across generations that were intended to prompt particular kinds of praxis. Now the accounts—at least those for public consumption—are collected in a variety of memorial archives and exhibitions, available in translation and via a range of media. This article asks, How can we think about the ‘afterlives’ of these accounts, or how might we understand the body of archived testimony in a way that is available for engagement by subsequent generations at temporal, geographic, and linguistic remove? To address this question, I frame witnesses’ acts of memorial transmission as teaching acts. I argue that their lingering power is a pedagogical power, meant to lead the audience, the students, toward care, attention, and action. I argue that the “lesson” takes the form of Benjaminian chronicle and its activity is one of appeal and response prefigured by Japanese ritual actions of irei, or making amends with the dead. The form and activity of these lessons frame a memorial relationship with testimonial literature that moves beyond moment of production and transmission into an enduring and accessible space of critical pedagogy.
Probing the continuities and discontinuities of queer representation and expression in the vast, multiform corpus of French cinema up to 1945, this chapter celebrates moments of queer visual and auditory intimacy and pleasure in both celebrated and little-known or neglected films. It aims to prove that early French cinema, despite its all-too-evident heterosexist matrices and repressive tendencies (notably the negative and often highly crude, fetishizing stereotypes of the “homosexual,” “lesbian,” and “cross-dresser”), also discloses unpredictable and non-normative aesthetic spaces or “interzones”—of filiation, desire, and sensation—that resist easy categorization (social, cultural political), elude the gender fixities of the period, and are rich in radical ambiguity and queer suggestion, even subversion. A new, materialist, queer aesthetics and historiography is proposed that ties early French film production and spectatorship to abiding aspects of the French cinematic tradition such as cinephilia and film criticism.
The rear-view mirror is one of the main devices found in cars. A mirror is a mirror used to see the traffic of a vehicle behind when it is about to veer, stop or change lanes. The purpose of this study was to design a pre-crash performance test of the rearview mirror. That is a system that will automatically perform mirror folding automatically based on the distance of the object in front of it. The system will reduce the risk of broken or scratched due to driver negligence. The research method at a time when the barrier is 30cm (±20cm) away from the front or back of the rearview mirror will read that distance which will then transmit to the Arduino. Arduino will process the data and send data for the speed reduction process by warning that there is an object in front or behind the rearview mirror and when the distance is <30cm from the barrier object, then the Arduino will order to fold the rearview mirror automatically, by activating the servo motor to fold the rear and rearview mirrors. The result of this study was to find out the performance of the GP2Y0A21 distance sensor reading and the performance of the rearview mirror pre-crash system. In this study, the bound variable was the distance measurement of the sensor's reading. The free variable used is the sensor reading metering distance displayed on the LCD (Liquid Crystal Display).
PurposeIn this paper, the authors argue that the blueprint that was organically developed over the course of approximately three centuries, from The Grand Tour to this day, is likely to see something close to a repeat in the development of that final frontier.Design/methodology/approachThe study used the methodology of reviewing the literature and model comparison.FindingsOpportunities will expand and change along the same trends that lead The Grand Tour to evolve into mass tourism, because as in the past people's perceptions about what is possible and reasonable will change the more common such once fictional ideas become reality.Originality/valueNothing is in the current tourism literature, on this topic. This is new and unique.