Albums are treasured by families, collected as illustrations of the past by museums of social history, and examined by scholars for what they can reveal about attitudes and sensibilities. Most agree that albums are stories that come to life in the retelling - but when no one is left to tell the tale, the intrigue of the album becomes a puzzle, a suspended conversation. Langford argues that oral consciousness provides the missing key. By correlating photography and orality she shows how albums were designed to work as performances and how we can unlock their mysteries.

"In Suspended Conversations Martha Langford breathes life into photographic albums. These travelogues, memoirs, thematic collections, and family sagas embody the intimate preoccupations of their compilers and the great events of a golden photographic age, 1860 to 1960. Langford also traces the influence of photograph albums on the installations, photo narratives, and photo sequences of contemporary artists. Whether dealing with art, museum archives, or the family heirloom, Suspended Conversations bring photography into the great conversation about how we remember our stories and send them into the future."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

In Suspended Conversations Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Rather than isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she demonstrates that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness. Exhibiting a collection of photographic travelogues, memoirs, thematic collections, and family sagas compiled between 1860 and 1960 and held by the McCord Museum of Canadian History, this second edition includes a revised and expanded preface along with new photographs of the Notman albums. Printed in colour throughout, the enhanced material draws out the distinct nuances and details of each album, giving them new life to tell their stories. Albums are treasured by families, collected as illustrations of the past by museums of social history, and examined by scholars for what they can reveal about attitudes and sensibilities, but when no one is left to tell the tale, the intrigue of the album becomes a puzzle, a suspended conversation. Langford argues that oral consciousness provides the missing key. Correlating photography and orality, she explains how albums were designed to work as performances and how we can unlock their mysteries. A fascinating glimpse of the preoccupations of previous centuries, Suspended Conversations brings photography into the great conversation of how we remember and how we send our stories into the future.

This collection offers empirical studies and theoretical essays about human communication in everyday life. The writings come from many of the world's leading researchers and cut across academic boundaries, engaging scholars and teachers from such disciplines as communication, sociology, anthropology, linguistics, and education. Chapters emphasize empirical, qualitative studies of people's everyday uses of talk-in-interaction, and they feature work in such areas as sociolinguistics, conversation analysis, discourse analysis, and ethnography. The volume is dedicated to and highlights themes in the work of the late Robert Hopper, an outstanding scholar in communication who pioneered research in Language and Social Interaction (LSI). The contributors examine various features of human interaction (such as laughter, vocal repetition, and hand gestures) occurring naturally within a variety of settings (at a dinner table, a doctor's office, an automotive repair shop, and so forth), whereby interlocutors accomplish aspects of their interpersonal or institutional lives (resolve a disagreement, report bad medical news, negotiate a raise, and more), all of which may relate to larger social issues (including police brutality, human spirituality, death, and optimism). The chapters in this anthology show that social life is largely a communicative accomplishment and that people constitute the social realities experienced every day through small and subtle ways of communicating, carefully orchestrated but commonly taken for granted. In showcasing the diversity of contemporary LSI research, this volume is appropriate for scholars and graduate students in language and social interaction, communication, sociology, research methods, qualitative research methods, discourse analysis, conversation analysis, linguistics, and related areas.

Depicting Canada’s Children is a critical analysis of the visual representation of Canadian children from the seventeenth century to the present. Recognizing the importance of methodological diversity, these essays discuss understandings of children and childhood derived from depictions across a wide range of media and contexts. But rather than simply examine images in formal settings, the authors take into account the components of the images and the role of image-making in everyday life. The contributors provide a close study of the evolution of the figure of the child and shed light on the defining role children have played in the history of Canada and our assumptions about them. Rather than offer comprehensive historical coverage, this collection is a catalyst for further study through case studies that endorse innovative scholarship. This book will be of interest to scholars in art history, Canadian history, visual culture, Canadian studies, and the history of children.

This book constitutes the refereed proceedings of the 11th International Conference on User Modeling, UM 2007, held in Corfu, Greece in July 2007. Coverage includes evaluating user/student modeling techniques, data mining and machine learning for user modeling, user adaptation and usability, modeling affect and meta-cognition, as well as intelligent information retrieval, information filtering and content personalization.

The Lebanese photographer Marie al-Khazen seized every opportunity to use her camera during the years that she was active between 1920 and 1940. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her camera by staging scenes, manipulating shadows, and superimposing negatives to produce different effects in her prints. Within her photographs, bedouins and European friends, peasants and landlords, men and women comfortably share the same space. Her photographs include an intriguing collection portraying her family and friends living their everyday lives in 1920s and '30s Zgharta, a village in the north of Lebanon. Yasmine Nachabe Taan explores these photographs, emphasizing the ways in which notions of gender and class are inscribed within them and revealing how they are charged with symbols of women's emancipation to today's viewers, through women's presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking cigarettes, driving cars, riding horses, and accompanying men on hunting trips counteract the common ways in which women were portrayed in contemporary Lebanon.