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Fano manifolds of Calabi-Yau Hodge type
Iliev, A.,Manivel, L. North-Holland Pub. Co 2015 Journal of pure and applied algebra Vol.219 No.6
We introduce and we study a class of odd dimensional compact complex manifolds whose Hodge structure in middle dimension looks like that of a Calabi-Yau threefold. We construct several series of interesting examples from rational homogeneous spaces with special properties.
How destination marketing on social media affects behavioral intention
Ivelina Ilieva,Spring Han 한국지능정보시스템학회 2022 한국지능정보시스템학회 학술대회논문집 Vol.2022 No.6
Social media is becoming more prominent in the daily lives of consumers and can plays a major role in forming impressions about tourism destinations. This is especially true during the current pandemic, when traveling is restricted and people increase the time they spend online. Recently, there has been a shift towards more visual content on social media, as apparent by the fast-growing popularity of social networks like Instagram, which is largely a photo sharing site. This shift indicates that destination marketing organizations need to take into consideration how photos of their destinations can influence consumers’ destination image. The goal of this paper is to find out whether the perception of destination and visit intention change after seeing photos of a destination and determine the effect that social media has on these components.
The Light Is Different There: Stained Glass in Taos and Beyond
Irena Ilieva Yamboliev 한국로렌스학회 2023 D.H. 로렌스 연구 Vol.31 No.2
This essay reads two of the works Lawrence wrote during his Taos, New Mexico phase, the novella “The Woman Who Rode Away” (composed 1924) and the poem “Autumn at Taos” (composed 1922), in light of his engagement with stained glass. These texts evolve the metaphorics and syntax of stained glass that Lawrence first developed early in his career, in the short story “A Fragment of Stained Glass” (1911) and The Rainbow (1915), where he imported the visual grammar of stained glass―vivid color filtered and tempered by opaque, black lead-lines―into prose. The filtering activity of stained glass works, in these early texts, a metaphor for relationship, in which the self softens and tempers as it abuts on others. On the other hand, in Taos, where the quality of the light in the natural and human-made environments differs from that of his native land, his texts take up, instead of the filtering, the projecting activity of stained glass, the way it can throw color and shape far beyond the pane. I consider especially the projecting, penetrating activity worked by eyes in “The Woman Who Rode Away,” and by the sun in that novella and in “Autumn at Taos alike,” to reveal a mechanism central to Lawrence’s trenchant exploration of the vulnerability of interaction with unfamiliar cultural and physical places.