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Recently, exposure correction and white balance correction of the image is in implemented in a digital camera. However, not been able to sufficiently corrected for the correction of the local Color Cast etc. sunset causes. Therefore, in this paper, to photograph partially Color Cast occurs, to determine the partial Color Cast region using the flood fill algorithm in the HSV color space. And, it was corrected. Partial Color Cast by Histogram Equalization. Thus, to achieve a partial Color Cast correction.

With a strong local color, the local dialect is the dominant language of the regional culture, and the main content of construction of the regional culture. This paper aims to analyze the similarities and differences between Linyi XuanZiXi and that of other places and the inheritance and development of XuanZiXi under the influence of Linyi dialect, in order to explore the correlation of the two and seek the ways to protect and develop XuanZiXi. The paper will carry on the analysis from the following aspects: identity and cultural identity of the dialect and local opera, cultural function of dialect and XuanZiXi, and the influence of dialect on the opera music creation.

Over most of its range populations of the spittlebugProsapia ignipectus(Fitch) (Hemiptera: Cercopidae) are monomorphic for black dorsal coloration. At the far northeastern margin of the species range in Maine, a cluster of populations is monomorphic for the presence of traverse orange dorsal lines against a black background. The narrow gap separating monomorphic black and monomorphic lined populations is less than 10 km wide, shows no evidence of a hybrid zone, and is without consequential physical barriers or ecological breaks. This sharp and unexpected division of color forms seems to have persisted for at least 90 years. It appears to be the sharpest divide ever recorded between geographically adjacent populations monomorphic for alternative aposematic color forms. About 45 kilometers to the southwest of this dividing line, three closely situated populations, surrounded by monomorphic black populations, are polymorphic for the two color forms. These observations are at variance with several expectations for aposematic species: (1) that local populations will be monomorphic for warning coloration, (2) that adjacent populations monomorphic for different local color forms will be linked by populations with mixed or hybrid forms, and (3) that geographic boundaries between contrasting aposematic color forms should be temporally unstable.

This chapter examines the ways in which Caribbean Voices changed when Swanzy left for Accra, Ghana, in 1954. Upon his departure, V.S. Naipaul, then in his twenties, took over the editorship. Naipaul was hired on a two-year contractual basis and after he left, Edgar Mittelholzer assumed the editorship and took the program to its conclusion in 1958. In ending the program when it did, BBC officialdom proposed that Caribbean Voices had achieved its goals and was no longer necessary. I argue that the program also ended when it did because, unlike Swanzy, Naipaul and Mittelholzer focused critical attention primarily on established writers rather than on nascent talent in the region. As a result, listener interest waned, undermining any possible justification for continuing the program.

This chapter examines the formation of the Critics’ Circle, a mix of English writers and Caribbean scholars and cultural commentators who met at regular intervals in the broadcast studio in London to review selections that had been previously aired on the program. As a result of the establishment of the Critics’ Circle, aspiring writers in the region were able to derive a greater sense of what the program construed as good writing and what sort writing was actively discouraged. This chapter details the several ways in which the admonitions of the Critics’ Circle membership and particularly Henry Swanzy’s utterances on literary craft influenced much of the writing that came out of the region during the post-war period of literary development.

This study was performed based on "Basic plan of landscape forming project in Jujeon village" which was performed during January ~ August 2011 as a target of "Pilot project of landscape forming in coast village" held by the Ministry of Land, Transport and Maritime Affairs. The project target, Jujeon village, Dong-gu, Ulsan metropolitan city has unique scenery and cultural and historic features. However, its distinct landscape is getting fallen due to insufficient management and development done without considering local feature. Therefore, we need to plan to increase the distinctive place value of coast village, and the landscape color plan is an essential element upon ma king entire harmony of village unit. This study, therefore, aims to suggest authentic landscape color plan and improvement plan of Jujeon village through local color research, local history, geographical feature, and resident sense research of Jujeon village. Especially, for independent landscape color plan for a small village, this study is significant to develop authentic color plan of Jujeon village based on storytelling and to provide possibility in landscape color plan through storytelling in the future.

Early photography history of Daegu, Gyeongbuk Province, Gyebok Choi were taken a lots of prizes of famous contest and known to the nationwide in 1930`s and then his photos became an example of salon photography. And his documents of Mt. Baekdu & Dokdo in 1940`s was the outcome of self-consciousness. Wangsam Koo proposed the realism of the photo. He saw, the base of photos should be reflected the lives of people of the times and the characteristics of the period, and he had great influence to the history of Korea photography with his own unique vision. These photos and theories accomplished a photo aesthetic to Korea photo history in 1940`s. Besides it had been the national spirit at Youngnam province in the early 20th century.

National dances—or “character” dances—have remained on the periphery of studies of the eighteenth-century musical vocabulary of topics and styles, much as the countries from which they hailed were viewed as tangential to the European mainstream. Yet, dances such as the ongherese, fandango, and polonaise carried affective content beyond their nationality. The stereotypes associated with these three countries—Hungary, Spain, and Poland, respectively—illuminate what composers sought to project in their uses of such dances. The ongherese had a dual cultural significance, evoking both Hungarian national pride and the fierce independence of the Gypsies who usually played it—eventually developing into what became the nineteenth-century style hongrois. The use of the fandango went beyond local color to imply the more negative elements of an older Spanish stereotype—including arrogance, haughtiness, and the unbridled exercise of power—both directly and as mocking irony. In contrast, the polonaise—as a noble presen...

To Mary E. Wilkins Freeman’s vast œuvre, a new story must be added. “The White Witch” appeared on Sunday, Christmas Eve, 1893, in the Boston Globe, Portland Oregonian, Philadelphia Inquirer, St. Louis Republic, and San Francisco Chronicle.1 Advertisements for the story ran in the Boston Globe for December 21–23, 1893. The story appeared with a series of illustrations, although not every edition reproduced all of them. “The White Witch” is a children’s story and a Christmas story, two possible reasons it has hitherto escaped the notice of Freeman’s bibliographers. As Mary Reichardt indicates in her introduction to The Uncollected Stories of Mary Wilkins Freeman, scholars have focused particularly on Freeman’s short fiction, which demonstrates her “expertise.” Reichardt indicates in her introduction that of Freeman’s “eighty-odd uncollected stories that do not appear” in her edition, “the majority are holiday tales.” Three holidaythemed stories do appear in Reichardt’s volume; however, she argues for their inclusion on the basis of their artistic merit, as stories that succeed in spite of being written expressly for and in the vein of the holiday story. As she explains, the three “achieve internal power and tension in spite of the overt holiday intent.”2 All three stories were written for an adult audience. Often regarded among her strongest works, Freeman’s short fiction is usually assigned to “either or both of the two following literary traditions: regional local color realism and proto-feminist writings.”3 Still, her œuvre as a whole remains difficult to characterize, given the sheer mass of her production and the number of genres in which she published and experimented: nonfiction, poetry, plays, novels, as well as stories for children and adults. Such scholars as James B. Carter and Karl J. Terryberry have recently

Graphical abstract In this work we propose a novel multi-scale operator which is based on the full color information within an image. In order to evaluate the method, we extract features from endoscopic images using this operator and classify the images according to the respective class of polyps. Highlights ► Compared to other LBP-based operators LCVP uses all color information available, yet yielding a more compact descriptor for an image. ► LCVP is up to 7.5 times faster compared to other LBP-based methods evaluated. ► In terms of a classification of polyps the accuracy of LCVP differs insignificantly only from previously developed methods., In this work we propose a novel method to describe local texture properties within color images with the aim of automated classification of endoscopic images. In contrast to comparable Local Binary Patterns operator approaches, where the respective texture operator is almost always applied to each color channel separately, we construct a color vector field from an image. Based on this field the proposed operator computes the similarity between neighboring pixels. The resulting image descriptor is a compact 1D-histogram which we use for a classification using the k-nearest neighbors classifier. To show the usability of this operator we use it to classify magnification-endoscopic images according to the pit pattern classification scheme. Apart from that, we also show that compared to previously proposed operators we are not only able to get competitive classification results in our application scenario, but that the proposed operator is also able to outperform the other methods either in terms of speed, feature compactness, or both.

This article is based on the key-note lecture given at the conference “Non-Nationalist” Russian Operas, Leeds, U.K., on 17 November 2010. It engages with the conference9s distinction between the “nationalist” and “non-nationalist” and proposes six potential situations for when an opera might be described as “Russian”: by composer9s intention, by reception, by interpretation, by association, by blood or culture, and by emanating from the nationalist school. Given that these six categories of Russianness (some of them mystificatory) form a network of conflicting claims upon any opera, there is no straightforward method for assigning operas to Russian or non-Russian categories. Therefore an alternative approach is proposed: to revive the older concept of “local color,” which figured prominently in nineteenth-century Russian discourse on opera, and to use this as a lens through which almost any nineteenth-century Russian opera can instructively be viewed. After examining how the concept was understood by leading Russian critics, Serov and Cui, the author offers a selection of her own examples to elucidate the use of “Russian” local color. It is emphasized that there are certain limits beyond which this color cannot be applied: characters of noble birth, even when Russian, are rarely portrayed in Russian colors; scenes that take place outside Russia usually have their own, appropriate color, e.g., “Polish” or “Oriental”; most importantly, themes that are considered universal, such as love or death, are usually exempt from Russian coloring. Examples from the late operas of Rimsky-Korsakov demonstrate his conscious and sometimes obsessive efforts in creating appropriate colors, Russian and otherwise. This approach allows us to set aside preconceived notions of which composers were truly national, especially when we generalize that local color denotes any distinguishing device designed to evoke a specific time and place, as well as the social identity of a character. Thus Tchaikovsky9s operas, often criticized for their lack of “Russianness,” display a subtle understanding of appropriate coloring: Eugene Onegin , for example, uses an idiom based on the parlor song of the Russian gentry, while The Queen of Spades takes up eighteenth-century idioms—in both cases lending the drama an appropriate color. The article concludes that local color, a much-used device in nineteenth-century opera across Europe, was an almost obligatory requirement for Russian opera composers who adopted an aesthetic of the characteristic, along the lines proposed by Victor Hugo in his Preface to Cromwell . The concept proves to be a valuable critical tool that allows us to deal with nineteenth-century Russian opera without becoming ensnared in essentializing distinctions between “nationalist” and “non-nationalist.” At the same time, it allows us to put Russian color in perspective, as one color among many cultivated by opera composers.

In this paper we present a local algorithm for contrast enhancement developed by N. Moroney at Hewlett-Packard Laboratories and presented at the IS&T/SID Eight Color Imaging Conference, in 2000. The algorithm uses a non-linear masking, is fast and does not require any manual parameter adjustments.

This paper considers Charles Ives's influence on the poetry of Ronald Johnson and its innovative reappraisal of American modernism and nineteenth-century transcendentalism. Keen to distance himself from Pound's Eurocentric ideas of history and culture, Johnson, following Ives's example, turns to American vernacular culture in his long poem ARK. In this essay, I propose that, from Ives, Johnson learns the importance of artistic sincerity and integrity that grows out of, and responds to, what Ives calls 'local color'. In doing so, I argue, Johnson's transcendentalist-inspired poetics perform a critical unlearning of European tradition. This is a tradition that the American artist, following Emerson, must initially master and assimilate into, rather than reject from, his or her own work in order that that their 'local color' achieves wider, universal, significance and impact.

Initiatives such as the Google Print Library Project and the Million Book Project have already archived more than twelve million books in digital format, and within the next decade, the majority of world’s books will be online. Although most of the data will naturally be text, there will also be tens of millions of pages of images, many in color. While there is an active research community pursuing data mining of text from historical manuscripts, there has been very little work that exploits the rich color information which is often present. In this work, we introduce a simple color measure which both addresses and exploits typical features of historical manuscripts. To enable the efficient mining of massive archives, we propose a tight lower bound to the measure. Beyond the fast similarity search, we show how this lower bound allows us to build several higher-level data mining tools, including motif discovery and link analyses. We demonstrate our ideas in several data mining tasks on manuscripts dating back to the fifteenth century.

One of the familiar conventions of nineteenth-century southern plantation short fiction is the frame narrative, featuring retrospective accounts by slaves or former slaves. The origin of this form, Victor Sejour's "The Mulatto," is the first short story by a U.S.-born African American. (1) Set in Saint Domingue (present-day Haiti), "The Mulatto" inaugurated the pattern of using an embedded slave or former slave narrator who recounts a harrowing tale of oppression, inhumanity, and psychological suffering under bondage. The story was written in French and published in the March 1837 issue of the Parisian antislavery journal La Revue des Colonies, a monthly periodical owned and sponsored by a "society of men of color" (O'Neill 14). (2) A free man of color, a colonial mulatto, and a native of New Orleans, Sejour migrated to Paris to continue his education and to embark on a career of successful authorship, principally as a playwright, in an environment far less repressive than in the antebellum South (O'Neill 1). Frances Smith Foster, in noting Sejour's achievement as a playwright in France, sees this "as proof of international acclaim for a writer of African descent" (632). As the first work to treat the pattern of the atrocities of slavery in the plantation Americas, "The Mulatto" serves as an intertext for subsequent works that employ an embedded African American slave or former slave as a raconteur. One such text is Charles W. Chesnutt's dialect story "Dave's Neckliss," originally published in the Atlantic Monthly in October 1889 and acclaimed by Richard Brodhead as "one of [Chesnutt's] most powerful works from any phase of his career," in that it "shows Chesnutt projecting both a more dignified, more capable black figure than elsewhere in the Uncle Julius tales" (17-18). While it seems doubtful that Chesnutt had ever read or even heard of Sejour's story, since it was not translated into English until 1995 for inclusion in The Norton Anthology of African American Literature, still "The Mulatto" and "Dave's Neckliss" share key intersections. Both may be viewed within a postcolonial context in that they feature colonizers who exploit and victimize African slaves whom they regard as inferior and subordinate; both exhibit freedom of African American voice; both share parallels in subject matter--psychological trauma, the oppression and dehumanization of slaves, and suicides of principal African American slave characters. Most significantly, both reflect the limitations experienced by black writers working within the restrictive space of the Euro-American literary conventions of melodrama (Sejour) and local color (Chesnutt) for the purpose of appealing to a largely white reading audience. To execute this, Sejour and Chesnutt employ racial tinting of the embedded narrators and of the protagonists of the stories they recount. Both black writers assume the guises of white auditors of the embedded stories of their narrators, Antoine and Julius, a slave and a former slave. Adopting this stance and approach partly negates and compromises the effect of what the black narrators say as well as how they choose to present their narratives; in other words, it restricts the range and credibility of their principal narrative voices through melodrama (Sejour) and local color (Chesnutt), respectively. Moreover, "The Mulatto" and "Dave's Neckliss" connect in yet another way. According to Jon Smith, "the literature, cultures, and identity politics of the U.S. South are seen as important ... because they share several traits with those of the global South--a history ... of colonial plantations, race slavery ... [and] vibrant African cultural survival" (125). In noting some of the general similarities among the geographical areas known as "Plantation America," George B. Handley generally observes, "the historical patterns that characterize the U.S. South also connect to a larger region of the Americas ... creat[ing] a region of perplexing but compelling commonality among Caribbean nations, the Caribbean coasts of Central and South America, Brazil, and the U. …

Color perception of an object is tremendously influenced by the spectral power distribution (SPD) of a light source. Therefore, it is of great significance to seek for an optimal SPD to enhance the color contrast of a biological specimen in medical lighting. Meanwhile, considering that color rendering property and illuminance are of importance to lighting, with a multichannel LED light source and a differential evolution algorithm dealing with the constraints of color rendering and illuminance, a contrast enhancement method based on maximizing CIEDE2000 color difference (ΔE00*) was proposed in this study. An illuminance level of 500 lx was first verified as the desired illuminance. Afterward, the color contrasts of six groups of color patches were optimized under four different constraints of the Commission Internationale de l’Eclairage (CIE) general color rendering index (Ra), i.e., Ra ≥ 0, Ra ≥ 60, Ra ≥ 80, and Ra ≥ 90, manifesting their significant color contrast enhancement under the optimized light sources compared with those under the simulated CIE A, D50, D65, and D75 light sources. Further, two biological samples, pork tissues and porcine heart, were optimized under the four constraints of Ra. The results show that even in the case of Ra ≥ 90, the optimized ΔE00* values for the two specimens are, respectively, 4.13 and 3.20 higher than those under the D75 light source. More importantly, the developed method also provides a flexible lighting solution to color contrast enhancement.

For all their associations with Enlightenment rationality and the privileging of realism and order over Romantic chaos, Walter Scott’s Waverley novels regularly feature a certain irrational, chaotic character type—one whose bizarre behavior and “twilight rationality” seem at odds with the Author of Waverley’s calm, authoritative voice. Criticism has long found in some of these characters (such as Guy Mannering’s Meg Merrilies, The Heart of Midlothian’s Madge Wildfire, and The Antiquary’s Edie Ochiltree) a meaningful link between the genteel young man of middling loyalties at the center of Scott’s novels— the “wavering” hero described by Georg Lukacs—and the peoples, customs and folk cultures they encounter in their journeys. Their surprising wildness is nevertheless authentic, critics argue; they are particularly vivid samplings of local color. As such these marginal characters serve to introduce the staid English observer to the seemingly strange, typically backwards Scots culture, history, and landscapes that Scott is either celebrating or appropriating, depending on whom one asks. 1 Like the sturdy peasants, the Mucklebackits and Fairservices of Scott, these “elementals” (as Walter Allen called them in The English Novel) are steeped in genuine Scottishness (132-33). Unlike them, their excessive strangeness and borderline lunacy prompt edgy and unpredictable behavior, which in turn immerses the protagonist and reader in traditional Scottish folk culture and dialect, even if Scott himself has largely adapted the originals and invented most of the tradition. This linking of the Elementals with local agrarian culture and custom coincides with Lukacs’ appreciation of Scott’s delineation of historical processes “from the bottom,” anticipates James Reed’s claims for “locality”

The interrogation of the category of race in Kate Chopin’s fiction represents an essential dimension of regional aesthetics, and it offers an alternative view to previous interpretations that focus primarily on feminist themes. This article examines the role of Louisiana as a specific region in the construction of the tragic mulatta stereotype in the fiction of Kate Chopin, primarily in her stories “Desiree’s Baby” and “La Belle Zoraide,” and by analogy in her most successful novel The Awakening. I propose to extricate Chopin’s work from the virgin/ whore dichotomy so often applied to white and non- white characters respectively. 1 From a new perspective, an illumination of the portrayals of the tragic mulatta figure in Chopin’s texts invites a reconsideration of the stereotype of the tragic mulatta that typically oscillates between evocations of the exotic and the sentimental. Attempting to reclaim the category of race in regionalist fic tion by examining the tragic mulatta stereotype in the selected texts, I see parallels between this pervasive image of southern local color fiction and the post- colonial paradigm, i.e. the dichotomy of the colonizer versus the colonized as it is suggested by Frantz Fanon in Black Skin, White Masks as well as the notion of stereo type as a form of normalizing, yet contradictory, judgment in Homi K. Bhabha’s The Location of Culture. From this perspective, the trope of the tragic mulatta appropriated by Chopin in her fiction represents an essential point of concurrence of the issues of gender, race, and region, and it points to the underlying racial anxiety mani fested by the existence of ambivalent feelings of fear and desire toward

I began writing this in a coffee shop near Holland, Michigan, the famed destination for Dutch immigration throughout the late nineteenth century and still an important center of Dutch and Christian Reformed denominations. Its prosperity was long based on furniture built from woods harvested from the local forests and the fruits and vegetables processed by the enormous Heinz plant at the head of Lake Macatawa situated nicely between the St. Lawrence and Mississippi shipping lanes. So far, this fits the image of the Midwest as a region as a mostly white, agrarian and industrial, and Protestant national center where ethnic difference is based on which northern European nation one’s ancestors left to move here—the narratives we recognize as the raw materials of regional or local color writing during its “ascendency” in the terms of Donald Weber, around a century ago. However, in the summer of 2008, it was announced that more people now live outside the city and in the township. Many confess to having left because of strife between rival Mexican and Vietnamese street gangs. Each group came to the area because of its strong industrial and agricultural base, though now most of the factory and picking jobs have been evaporated by downsizing, outsourcing, and automation, and the city’s tax-base has shrunk as the descendants of the Dutch have built houses in former corn fields and orchards of the township. The township has no “downtown,” just a strip with roughly the same franchised restaurants, bookstores, home furnishing, and hardware stores that litter every strip from Maine to California. Is that how you imagine the Midwest? Our scholarly conversations about American literary regionalism—especially its Midwestern variant—refer usually to the older image almost exclusively. Writers are described as

Color transfer is an image processing technique which can produce a new image combining one source image's contents with another image's color style. While being able to produce convincing results, however, Reinhard et al.'s pioneering work has two problems—mixing up of colors in different regions and the fidelity problem. Many local color transfer algorithms have been proposed to resolve the first problem, but the second problem was paid few attentions. In this paper, a novel color transfer algorithm is presented to resolve the fidelity problem of color transfer in terms of scene details and colors. It's well known that human visual system is more sensitive to local intensity differences than to intensity itself. We thus consider that preserving the color gradient is necessary for scene fidelity. We formulate the color transfer problem as an optimization problem and solve it in two steps—histogram matching and a gradient-preserving optimization. Following the idea of the fidelity in terms of color and gradient, we also propose a metric for objectively evaluating the performance of example-based color transfer algorithms. The experimental results show the validity and high fidelity of our algorithm and that it can be used to deal with local color transfer.

A novel image feature descriptor SCH based on spatial feature was proposed.It used MCVAE algorithm based on the color vector angle and Euclid distance to detect original color image edge,and a new "greatest and smallest component color invariant model" to realize the original image quantization.Furthermore,for the edge pixels,the distribution of the color pairs at an edge was extracted by edge correlation matrix.Meanwhile,for the non-edge pixels,the local color distribution of pixels was extracted by color histogram.Then,a new sin similarity metric was used to measure the similarity between the image features.Finally a content-based image retrieval prototype system called "SttImageRetrieval" was developed with VC,with establishment of a comprehensive database of images called "IMAGEDB" using Oracle 9i database.Experimental results show that our algorithm outperforms the methods of color statistical feature for image indexing and retrieval.

For Jorge Luis Borges, local color was overrated. In “the argentine writer and tradition” (1951), borges responded to the charges of critics who valued indigenous traditions and themes above all else; for Borges, just as Shakespeare could draw on Scandinavian history and Racine from the memories of the ancient world, so the Argentine writer should be permitted to mine the veins of the Western European tradition for the rich ore of literary art (Frisch 43). When the national writer does wish to produce a “truly native” text, he suggests, this should be accomplished with great subtlety, even to the extent of obscuring altogether the indigenous hues of local color in favor of an unspoken affiliation with the authorial homeland. A prime example of this technique, he avows, can be found in the Koran:A few days ago, I discovered a curious confirmation of the way in which what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arab book par excellence, the Koran, there are no camels; I believe that if there ever were any doubt as to the authenticity of the Koran, this lack of camels would suffice to prove that it is Arab. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were particularly Arab; they were, for him, a part of reality, and he had no reason to single them out, while the first thing a forger, a tourist, or an Arab nationalist would do is bring on the camels, whole caravans of camels on every page; but Mohammed, as an Arab, was unconcerned; he knew he could be Arab without camels. I believe that we Argentines can be like Mohammed; we can believe in the possibility of being Argentine without abounding in local color. (181)

Constance Fenimore Woolson has increasingly been recognized as a subtle and acute observer of cultural norms for gender and sexuality in late nineteenth-century America. Scholars have noted her ambivalent representations of heterosexual love and her recurrent interest in figures of social marginality and isolation: "spinsters," foundlings, outcasts. (1) Her fiction often avoids conventional marriage plots, focusing on less socially visible desires, passions, and affinities. According to her friend Henry James, Woolson was "interested in general in secret histories, in the 'inner life' of the weak, the superfluous, the disappointed, the bereaved, the unmarried" (272), sympathetically exploring identities that have been defined by their failure to conform successfully to conventional middle-class values. What has received less attention, though, is how these thematic and cultural interests are inflected by racial and cultural difference, especially in her early local color fiction, written mostly in the mid-1870s. Her story "Felipa" is a particularly significant example: Relegating marriage to the status of subplot, this text explores same-sex love within the context of its young orphan protagonist's ultimately failed or refused socialization into normative femininity and heterosexuality. The story has been read as an important early expression of emergent ideas of sexual inversion, in which nonnormative sexuality is understood in terms of one sex taking on the gender identity of the other--as illustrated by stereotypes of the mannish lesbian or effeminate male homosexual. (2) I argue, however, that the ideas about gender and sexuality that Woolson explores in "Felipa" are not reducible to the theory of inversion and can be fully understood only by taking into account the story's engagement with cultural alterity. The story's ethnographic dimension, its invocation of an imagined primitive culture, has received relatively little critical scrutiny, especially in relation to its more salient representation of nonnormative sexuality. Woolson projects a kind of magical thinking about sexuality onto its foundling protagonist, whose heterodox beliefs blur distinctions between masculine and feminine, white and nonwhite, even self and others. These textual meanings become more legible within the context of nineteenth-century anthropology. I address them alongside the work of the evolutionary anthropologist Edward Burnett Tylor, who provided highly influential theories of such relevant concepts as animism, fetishism, and idol worship. Anthropological constructions of primitive culture have substantial affinities with late-nineteenth-century American literary writing, particularly local color writing, with its interest in regional and cultural difference. Recent scholarly work has demonstrated that American regionalist writing in the decades after the Civil War shares significant aims and interests with nineteenth-century anthropology, taking part in a parallel exploration of new ways of thinking about race and culture. (3) More specifically, the ethnographic imagination of literary regionalism complicates American histories of sexuality, loosely borrowing anthropological notions of primitive culture to fantasize about alternatives to prevailing cultural norms for sexuality and gender. Though anthropologists' investigations into the marriage customs or sexual practices of putatively primitive societies certainly privileged Western models, they also confronted readers with other ways of organizing sexual relations, making it possible to think of Western institutions as not simply natural and inevitable. Exploring the ethnographic imagination of local color writing--its fictional staging of encounters across cultural or racial difference--potentially brings to light literary attempts to re-imagine sexual desire, apart not only from normative heterosexuality, but also from such emerging scientific frameworks as inversion. "Felipa" invokes ethnographic signs of primitive culture, mapping them onto the figure of a child not yet socialized into the norms and values of white middle-class American culture. …

This paper investigates a new approach for color transfer. Rather than transferring color from one image to another globally, we propose a system with a stroke-based user interface to provide a direct indication mechanism. We further present a multiple local color transfer method. Through our system the user can easily enhance a defect (source) photo by referring to some other good quality (target) images by simply drawing some strokes. Then, the system will perform the multiple local color transfer automatically. The system consists of two major steps. First, the user draws some strokes on the source and target images to indicate corresponding regions and also the regions he or she wants to preserve. The regions to be preserved which will be masked out based on an improved graph cuts algorithm. Second, a multiple local color transfer method is presented to transfer the color from the target image(s) to the source image through gradient-guided pixel-wise color transfer functions. Finally, the defect (source) image can be enhanced seamlessly by multiple local color transfer based on some good quality (target) examples through an interactive and intuitive stroke-based user interface.

The Romantic concept of “local color” refers to a site of painterly experimentation, the application of pigment in the chromatic construction of a picture. The term also identifies a detail authenticating an exotic subject considered typical of a particular region. This article zeroes in on the convergence of these two aspects of local color, interrogating the dialogue between subject and technique in the representation of North Africans. In their paintings from the late 1840s depicting “primitive” racial types from the Maghrib, Eugene Delacroix (1798–1863) and Theodore Chasseriau (1819–1856) shifted to a color system that emphasized contrasts of distinct zones of color derived from an ethnological spectrum over smooth transitions and harmonies between hues. Unpacking the coordinates, including the trope of the mixed‐blood, and the unstable classificatory schemas of physical anthropology suggests that these painters' unconventional colorism and formal daring indexed the pervasive anxiety that miscegenatio...

Inclusion of local color information in generic object recognition is ignored by almost all approaches, although it is important and can improve the recognition performance. In this paper, we present a generic object recognition approach using boosting as a learning technique. Simple local color descriptors combined with the SIFT descriptors are used. Experiments using benchmark and complex generic object datasets are performed, and good performance is obtained.

The Intelligent Space(ISpace) provides challenging research fields for surveillance, human-computer interfacing, networked camera conferencing, industrial monitoring or service and training applications. ISpace is the space where many intelligent devices, such as computers and sensors, are distributed. According to the cooperation of many intelligent devices, the environment, it is very important that the system knows the location information to offer the useful services. In order to achieve these goals, we present a method for representing, tracking and human Jollowing by fusing distributed multiple vision systems in ISpace, with application to pedestrian tracking in a crowd. This paper describes appearance based unknown object tracking with the distributed vision system in intelligent space. First, we discuss how object color information is obtained and how the color appearance based model is constructed from this data. Then, we discuss the global color model based on the local color information. The process of learning within global model and the experimental results are also presented.

With the advent of local autonomy, local governments are seeking balanced regional development through the decentralization of the central government`s authority. In line with this trend, each province has begun to recognize the significance of local identity as a means to promote regional development, and this recognition contributed to developing various brands using local resources. However, a number of these brands are similar to one another because they were developed without thoroughly analyzing and strategically differentiating local identities from one another. Thus, this study aims to propose local characteristics and consumer consciousness that need to be considered in local speciality brand development through practical marine product brand development cases representing Yeosu`s local characteristics. This study intends to contribute to setting an effective direction of marine product branding by applying local color to brand development strategies and brand identity elements and by suggesting post-management and promotion plans of local brand positioning.

This article examines the furore aroused by Il furioso's simultaneous triple Neapolitan premiere in 1834. Situating the opera's unusual reception in the context of the complex and vibrant theatrical life of Naples, I describe how the coexistence of multiple versions of Il furioso—prose as well as operatic—inflected the meanings of Donizetti's work. Close attention is paid to the opera's interaction with local performance traditions, notably those obtaining in the city's less prestigious venues, where factors such as the permeability of the “fourth wall” brought the work into dialogue with local urban preoccupations. After considering the close parallels between the buffo slave Kaidamà (played blackface) and Pulcinella, the stock Neapolitan mask, I demonstrate how aspects of Kaidamà's representation unnervingly recalled the class of urban beggars (lazzaroni) that personified Neapolitan backwardness. At the hands of local conventions, Donizetti's work took on a form that, by evoking pervasive discourses of Southern inferiority, raised uncomfortable questions about Neapolitan self-image. The contingent and unpredictable meanings thrown up by Il furioso's reception suggest the potential importance of vernacular performance traditions as a line of future research.

This article attempts to reconstruct a mental cartography of early modern London, the ensemble of material, social, and symbolic codes that made up the social architecture of the city. The article extends Steven Mullaney's work by giving scholars a more accurate understanding of the geography of London and its liberties, especially those that housed private theaters, such as Shakespeare's Blackfriars. I look in particular at the liberty of the Whitefriars, arguing that between 1600 and 1615, two theaters used the liberty's reputation to draw visitors to both the theater and the neighborhood in an early modern version of cultural tourism. The theater thrived on a symbolic economy, a commodification of local color that drew people to the district, from in and outside London. I bring theories of space and tourism into play when considering the complexities of how a theater commodifies its neighborhood in this manner.

Color transfer produces a new image and keeps the content of source image and the color of reference image. The technology is widely used in areas such as prepress image processing and multimedia post-production. The article proposes an adaptive local color transfer algorithm based on neighborhood similarity. Firstly, two classical algorithms—Reinhard algorithm and Welsh algorithm—are analyzed on the applicability and deficiency according to the experiments. Then, a new method is introduced to improve Welsh algorithm on incomplete point neighborhood description and the low efficiency of searching for matching points, which is calculating the neighborhood average value by adding high-frequency texture information to describe neighborhood features, and local hierarchical matching points searching strategy. The matching points searching strategy includes dividing the target image into blocks, searching for matching point based on neighborhood similarity firstly, and searching the global image to find best matching points finally. Experiments demonstrate that the improved algorithm can transfer the referential color effectively without any user intervention.

RESUMO Se durante o século XIX a escrita da história adquire contornos mais precisos, é importante reconhecer o papel da cor local neste processo. O dispositivo assegura, por um lado, o caráter nacional das produções intelectuais e, por outro, oferece meios de legitimação e fidelidade para as narrativas do período. O escopo deste artigo é, pois, não somente reafirmar a associação entre a cor local e a nação, mas sugerir possibilidades de apreensão do dispositivo e, sobretudo, discorrer sobre as implicações e efeitos de seu emprego na elaboração da historiografia. Para isso, recorre-se tanto às prescrições relativas à cor local no contexto francês quanto aos textos da Revista do IHGB e de Varnhagen. Sugere-se, como hipótese, que a cor local é parte do vínculo que se estabelece entre tempo e espaço neste momento, além de possibilitar, devido à sua origem pictural, a criação de uma imagem da nação. ABSTRACT Whether during the nineteenth century the writing of History acquires more precise contours, it is imperative to recognize the role of local color in this process. On one hand, the local color ensures the national character of intellectual productions and, on the other, it offers a means to legitimize the period's narratives. The scope of this article is not only to reaffirm the association between local color and nation, but also to suggest possibilities to apprehend the the local color and, above all, to discuss its implications and effects on the historiography development. To this end are used the texts about local color in the French context, and the texts of the Revista of IHGB and Francisco Adolfo de Varnhagen. As a hypothesis, the article suggests that local color is part of the link established between time and space in the moment, and that, due to its pictorial origin, it also contributes to the construction of a nation's image.

The lexical presence of culture in a literary work mostly appears in form of culture-specific items. Due to cultural distance, translating these challenging elements, i.e. culture-specific items, is of real significance in the translation process. Translating these items entails, among others, adopting the dichotomy of Domestication or Foreignization. The present study sought to find which of the strategies was used more frequently in the English translation of the Persian literary masterpiece Shazdeh Ehtejab, translated by Buchan (2005). To do so, at first, thirty-four culture-specific items were extracted and then analyzed according to Newmark’s categorization (1988) of culture-specific items. Then, these items were examined according to Aixela’s model of translating culture-specific items (1996), which divides all the strategies into two broader categories of Domestication and Foreignization, to find the more frequent strategy. The result showed that Domestication with eighty-two percent was more frequent, which stood as the main approach of the translator. Moreover, as a subcategory of Domestication, synonymy was the most frequent strategy with thirty-nine percent. By applying domesticated equivalents, the translator hides the local color of the source text. The findings in this study have pedagogical implications for literary translators.

The American literary canon witnessed the abundance of poor whites. In various works over different epochs and genres, for example, Mark Twain's The Adventures of Huckleberry Finn and George Washington Harris’s SutLovingood, depression-era destitute farmers and nowadays the trailer trash, these poor whites with their frontier tall tale tradition and local color dialect, had occupied important positions. The denigration of poor whites could be traced back to 1728 when William Byrd depicted the lazy woods folk that lived in the deep mountains in Virginia in History of the Dividing Lineand Other Tracts: History of the Dividing Line (1866). Ever since, the poor whites have remained humorous and comic in southern literature. In Erskine Caldwell’s Tobacco Road (1932)and George M. Weston’s The Poor Whites of the South(1856), one might also find the well-established stereotype of poor whites as being a “shiftless, illiterate and often vicious group of people” (Brooks, 1963: 11). These mountain poor were related to “a range of values that provoked disapproval” (Kidd, 2004: 115). Naturally, there were exceptions, among which John Steinbeck’s The Grapes of Wrath (1939) of the great depression drew wide sympathy and recognition.

In this paper, we propose a novel framework for restoring color images using nonlocal total variation (NLTV) regularization. We observe that the discrete local and nonlocal gradient of a color image can be viewed as a 3D matrix/or tensor with dimensions corresponding to the spatial extend, the differences to other pixels, and the color channels. Based on this observation we obtain a new class of NLTV methods by penalizing the l p,q,r norm of this 3D tensor. Interestingly, this unifies several local color total variation (TV) methods in a single framework. We show in several numerical experiments on image denoising and deblurring that a stronger coupling of different color channels – particularly, a coupling with the l ∞ norm – yields superior reconstruction results.

Qilu-culture is a typical representative of Shandong folk culture, can shows the the unique way of the production and life of the people in Shandong region, can profoundly reflect the local people's living habits. With the help of unique shape, color, texture and process of Qilu-dyeing-fabric, this paper proposes some fashion design method with the local folk. The specific design practice show that melting Qilu-Folk dyeing fabric into Silk clothing design has a very distinctive local color, and melting Qilu-Folk dyeing fabric elements into modern fashion design concept can enhance people's love for traditional culture, release the hearts of the people, make the clothing design more folk flavor.

The aim of this paper is to carry out a qualitative and quantitative analysis of the semantic and pragmatic aspects of a translation from Spanish into Swedish. Taking advantage our extensive knowledge of the local area we selected a book about the cultural heritage of Seville. Owing to the differences in the two cultures we expected to find numerous foreign cultural words – that we call culturemes – throughout the book that have no direct equivalence in Swedish. Our intention was to detect them and describe by means of several examples the translation techniques we used in order to adapt the target text to the Swedish reader. At the end we also carried out a quantitative analysis of the 252 culturemes we found, with a table showing which translation techniques dominate, and the frequency of occurrence of other techniques. We aimed to transfer as many culturemes as possible in order to give the target text some local color. This is the strategy called foreignization, recommended by Venuti. Throughout the translation and analysis process we concluded that the translator must have a sound linguistic and cultural knowledge of both the source and target languages in order to successfully resolve cultural differences and create an idiomatic and pragmatic translation.

In Elizabeth Stoddard’s odd novel The Morgesons (1862), the sea stirs young Cassandra Morgeson, pulling to the surface a dormant sexuality, “murmuring softly, creeping along the shore, licking the rocks and sand as if recognizing a master. And I saw and felt its steady, resistless heaving, insidious and terrible” (63). Another, more famous, fin de siecle novel echoes this inner disturbance within its heroine in much the same terms, engaging the sea as a powerful symbol for sexuality and freedom. In Kate Chopin’s The Awakening (1899), Edna Pontellier’s love affair with the ocean is similarly characterized by an unleashing, first felt as a calm drifting and later as a violent storm. Edna is a boat unmoored, “borne away from some anchorage which had held her fast, whose chains had been loosening—had snapped the night before” (81). The sea, however, is only one representative element of the two closely related novels. While there is no evidence that Chopin read Stoddard’s work, the two novels are thematic sisters, employing identical symbols, like those of water, food, music, and sleeping/waking, to probe common feminist themes. As patchwork of nineteenth-century fictional styles, and as early iteration of regional, realistic, and even naturalistic writing, The Morgesons stands firmly as a precursor to The Awakening. This chapter reads Stoddard and Chopin in tandem in order to model an enriching pedagogical approach to Chopin’s canonical novel.

Generally, for a global or local color transfer, the traditional approaches will rearrange color distribution in source image according to reference image. However, the destruction of scene detail and illumination environment might produce a low-fidelity color transfer result. In this paper, we propose a unified fidelity optimization model for color transfer to yield a high-fidelity transfer result in terms of color, detail and illumination. Corresponding to the three characteristics, our approach is described as an optimization problem with three energy terms: color mapping, detail preserving and illumination awareness. Color mapping can employ histogram matching to impose the color style of reference image on source image; Detail preserving can apply gradient guidance to maintain scene detail in source image; Illumination awareness can construct illumination affinity to harmonize illumination environment. Moreover, following the definition of fidelity with three characteristics, we also propose an objective evaluation metric to analyze the performance of our approach in different coefficients. The comparison of experiment results demonstrates the effectiveness of our optimization model.

In the summer of 2005, the U.S. media's obsession with the disappearance of white women and girls reached an intensity that provoked a backlash. Where were the ethnic others in these captivating late-night, early-morning, special, and breaking-news news stories? This essay explores a paradox of white racial disappearing as it is reported with vigor in the media and as it is absented from academic feminist study. It situates this paradox in an inquiry about the consequence of this absence at the same moment that U.S. feminist studies goes looking for transnational bodies while local body-politics are underinterrogated, and while science studies focus us on intimate matters of being human that ultimately and deeply implicate race and gender. To illustrate this paradox of positionality, I discuss the adoption of Asian babies by U.S. white women and how the academic attention to the transnational spaces of these adoptions displaces attention to matters of local color and gender.

We propose an global color model based method for tracking motions of multiple human using a networked multiple-camera system in intelligent space as a human-robot coexistent system. An intelligent space is a space where many intelligent devices, such as computers and sensors(color CCD cameras for example), are distributed. Human beings can be a part of intelligent space as well. One of the main goals of intelligent space is to assist humans and to do different services for them. In order to be capable of doing that, intelligent space must be able to do different human related tasks. One of them is to identify and track multiple objects seamlessly. In the environment where many camera modules are distributed on network, it is important to identify object in order to track it, because different cameras may be needed as object moves throughout the space and intelligent space should determine the appropriate one. This paper describes appearance based unknown object tracking with the distributed vision system in intelligent space. First, we discuss how object color information is obtained and how the color appearance based model is constructed from this data. Then, we discuss the global color model based on the local color information. The process of learning within global model and the experimental results are also presented.

Most scholars of American literature consider the works of Mary E. Wilkins Freeman (1852-1930) as falling in either or both of the two following literary traditions: regional local color realism and proto-feminist writings. Among her most noteworthy middle-twentieth-century critics are Edward Foster and Perry Westbrook, who situate her solidly in the local color regionalist convention. Freeman's many later-twentieth-century scholars, such as Marjorie Pryse, Mary R. Reichardt, and Leah Blatt Glasser, spurred by the growing feminist movement in literature and theory, later recontextualized Freeman in the proto-feminist camp of nineteenth-century women writers while otherwise staying the course that Foster and Westbrook set forth. If Freeman could see how her legacy has unfolded, surely she would be disappointed not to be considered among the great American writers. She was an immensely popular and prolific author in the United States and the United Kingdom, publishing in the many Harper magazines and penning twenty-two volumes of short stories and fourteen novels, among other writings (Kendrick 4). On more than one occasion she has been considered on a par with the likes of Hawthorne and Twain. However, it appears that if Freeman is to gain more repute in literary studies, scholars must continue to find new niches for her work. Again she must be recontextualized. Fortunately for her enduring legacy, her work is prevalent with fairy and folk themes that, to date, scholars have largely failed to recognize, lending yet another venue from which her vast literary talent and merit may be examined and revealing new and important insights into her opus. Freeman has left clues to her fairy and folk influence for those with a quick eye. Accounts from friends and family say she was quick to read fairy stories throughout her life (Foster 15, 43n195). Her late short story "The Prism" (1901) is particularly telling: Diantha Fielding, a girl of twelve, lies in an open field looking at "dancing colors" through a teardrop prism from a period lamp. In the prism, Diantha sees dancing fairies. Years later, Robert Black takes Diantha into the woods and asks her to marry him. She accepts and shares the secret of her prism: "What do you see, Robert," she asks (63), but he sees only myriad colors and responds, "what else should I see?" She continues, "You have read-about fairies-and such things. . . . Ever since I was a child, I have seen, or thought so . . . beautiful little people moving and dancing in the broken light across the fields" (64). Robert is appalled, and Diantha, rejected, buries the prism. "It's all right, little girl . . . but don't let such fancies dwell in your brain. This is a plain, common world, and it won't do," Robert consoles (65). Diantha never speaks of fairies again and serves faithfully as Robert's wife from then on. Like Diantha, Freeman too seems stuck in the authoritative whims of scholars who have appropriated her for their own limited interpretations, but the fairy-tale discourse in her work is one of Freeman's own making, and it ought to be recognized as one that helps her step out of her critics' staid preconceptions of her work. An unearthing of Freeman's prism visions reveals more than colors plain and common. Freeman's use of fantastical imagery and fairy-tale elements in her children's poetry and prose illustrates that early in her career she certainly did not always seek realism as a hallmark of her work. Karl J. Terryberry says that many of Freeman's children's stories "resemble the folk or fairy tales that were written by the Brothers Grimm or Perrault. . . . Usually, these stories of fantasy are set in fictional lands that are ruled by good kings and queens who help young girls find husbands who are of royal descent" (21). Although they have failed to garner the same scrutiny in terms of folk and fairy genres. Freeman's adult works continue to draw from the copious fairy-tale themes that she so often employed in her children's canon. …

In this report, fuzzy correlation of color-histograms is proposed for the similarity measure between the color contents of images. By employing a weighted algorithm on the process of calculating the peak value of the correlation, it offers the flexibility to adapt to an image and its best matching images with partial color distortion or local color characters. Experimental examples demonstrate the effectiveness of the proposed method in its application to the retrieval of color images of interest specified by their color content.