Performing colonial sovereignty and the Israeli ‘separation’ wall

As a structure that does not mark an actual border and is constructed primarily on occupied territory, the Israeli ‘separation’ wall is a unique space that functions as both border and borderlands. Here, I explore the wall as a performance of sovereignty which simultaneously constructs and de-constructs imaginings of the Israeli nation-state. On the one hand, I contend that the wall is a colonial production that draws a psychic line between a ‘civilised in here’ and ‘uncivilised out there’, fulfilling the double function of forging a perceived bounded, protective national enclosure at the same time as buttressing the necessity of controlling territory beyond the bounds of that enclosure. On the other hand, I argue that the complex relationship between settler and state materialised in the wall points to a blending of theology and politics in Israel, which threatens to empower a God-sanctioned politics that undermines state. In addition to promoting anxiety of the Palestinian ‘out there’, then, the wall is understood as also fostering an anxiety increasingly turned inward to the structures of the Israeli state itself.     

“From Her Side of the Gossamer Wall(s)”: Reflexivity and Relational Knowing

Drawing on a provocative metaphor from an award-winning novel, this article argues that reflexivity can be conceived as three gossamer walls through which researchers construct knowledge from within three sets of relationships, including relations with: oneself (and the ghosts that haunt us); with research participants; and with one’s readers, audiences, and epistemological communities. On the other side of a first gossamer wall are relations with our many selves as well as with ‘ghosts,’ deeply buried across time and space, that may come back to haunt us when we are physically and emotionally invested in our research. Behind a second gossamer wall are the multi-layered relations between researchers and research respondents, relationships that can involve oral, audible, physical, emotional, textual, embodied, as well as shifting theoretical and epistemological dimensions. Finally, a third gossamer wall lies between ourselves and our readers and audiences as well as the epistemological or epistemic communities wherein our work is located, read, reviewed, and received. Rooted in an ethnography of Canadian primary caregiving fathers, the article contributes to current discussions of reflexivity in qualitative research practice by expanding dominant understandings of reflexivity as a self-centered exercise towards a consideration of other critical relationships that are part of how we come to know and write about others. The metaphor of gossamer walls, combining the sheerness of gossamer and the solidity of walls, provides for creative ways of conceptualizing reflexivity in temporal and spatial terms as well as to consider the constantly shifting degrees of transparency and obscurity, connection and separation that recur in the multiple relations that constitute reflexive research and knowing.     

现代室内壁饰的审美意趣

现代室内壁饰可以呈现出不同的视觉形式美、色彩情感美、材料肌理美和工艺美,同时,它因与环境高度协调而表现出环境和谐美。我们通过论述现代室内壁饰的这四种美认为,现代壁饰在某种程度上为室内环境起到了缓冲作用,拓宽了室内的空间视野,增强了居室环境的美感因素。由于这种艺术审美形式上含有较强的表现性,从而得到了无穷的趣味性。     

论证券公司信息隔离墙的法律功能

信息隔离墙的设置,旨在解决三个问题,第一,防止证券市场信息在证券公司内部的无约束性流动,从而减少内幕交易,缓和证券公司(证券商)与客户之间的利益冲突;第二,为证券公司提供合理的抗辩理由,并建立相应的证券公司责任限制制度;第三,使证券公司免于陷入“受信义务”引发的“两难境地”,处理好与公司客户和投资者客户两方的代理关系。     

基于LINUX操作系统的防火墙技术及实现

介绍了LINUX下常用的防火墙规则配置软件Ipchains;从实现原理、配置方法以及功能特点的角度描述了LINUX防火墙的三种功能;并给出了一个LINUX防火墙实例作为参考。     

基于有限元技术的锅炉水冷壁焊机关键部件研究

针对锅炉水冷壁焊机受力较大容易导致整机强度不够的问题,提出了锅炉水冷壁焊机机架的有限元分析方法。对危险横梁进行了详细的静态有限元数值分析,得到整体结构变形、等效应力云图和部分方向位移图。提出五种结构优化的方案,并进行了仿真分析,最终确定将横梁左右两侧改成封闭式结构这一最优方案。利用该方法设计制造锅炉水冷壁焊机样机,经实际生产运行满足企业要求。     

岩山寺文殊殿金代壁画中所表现的山水画

山西繁峙岩山寺文殊殿壁画,是目前所知现存唯一一处金代青绿山水画作品。以青绿山水的绘画样式与风格演进为主线,同时兼顾与之相关联的历史文化、作品系统、工具材料、画家主体等方面来展开讨论,探讨壁画中山水的渊源和风格形态,可以看到金代岩山寺壁画中山水画独特的艺术价值。     

塑料阳角基准条在抹灰工程中的应用

介绍塑料阳角基准条在抹灰工程施工中的应用技术，解决了传统阳角抹灰操作难度大的问题，展示了阳角抹灰工艺改革势在必行的趋势．     

纤维艺术与及其表现形式

纤维艺术是现代艺术在材料上的拓展,它植根于民族与传统,编织是其主要制作手法但决不是唯一的手法,它的表现形式从平面到立体丰富多彩,是语言独特、令人瞩目的艺术形式.     

现代室内壁饰艺术审美意趣论

现代室内壁饰可以呈现出不同的视觉形式美、色彩情感美、材料肌理美,又因与环境高度协调而表现出环境和谐美。现代壁饰在某种程度上为室内环境起到了缓冲作用,拓宽了室内的空间视野,增强了居室环境的美感因素。由于这种艺术审美形式上含有较强的表现性,给欣赏者带来了无穷的趣味性。