Quilt meaning的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和整理懶人包

The Art of Make-Do Quilting: The Ultimate Guide for Working with Vintage Textiles

為了解決Quilt meaning的問題，作者Kerr, Mary W. 這樣論述：

Vintage is gold to contemporary quilters, and this guide from the quilt world’s expert in vintage gives the how-tos, inspirations, and ideas to make your project work! The make do trend means incorporating vintage items--cute 1950s handkerchiefs, 1890s tattered quilt found at a yard sale, a relat

ive’s favorite 1970s prom gown--into contemporary quilt designs. The task can seem overwhelming, since many times a lovely old item does not translate easily to a quilt. Here’s the guidance quilters of any level need to escape the common fear of But you can’t do that to a vintage textile! Many quilt

ers find themselves stuck when they discover the vintage object they’d like to use in a quilt. These how-tos, inspirations, and photos inspire you to think outside the box and create amazing quilts with generations of meaning. Get ready to be inspired.

The Book of Sharks

為了解決Quilt meaning的問題，作者Carney, Rob 這樣論述：

Poetry. "THE BOOK OF SHARKS is an accomplishment at the micro and macro level. Rob Carney has crafted lines that you'll want to save for your next tattoo inside of efficient poems that touch on creation myth, forgotten industries, and slices of life in villages he manufactures with a creator's divin

e spark. All of this works on its own inside of a larger, complex quilt that he has woven into an intricate pattern that revisits themes, finishes stories, and reminds you that THE BOOK OF SHARKS is a larger poem that is greater than just its sharpened teeth."--Jesse Parent "In precise, sharp lines,

Rob Carney's THE BOOK OF SHARKS builds and interrogates myth and myth-makers, turning to sharks to also turn inward and outward, exploring one's purpose and place and the stories one tells to make meaning. Here, poems wash out and return like the tides they describe, inviting the reader to feel the

ir weight, as if 'to disappear under the stories / as though they were waves.' In the end, whether in water, sky, or story, Carney invites us to consider the essential motivation of 'moving, arriving, being full, ' what it means to seek."--Callista Buchen "'Some say sharks are the ocean's anger at u

s for being in its future, ' writes Rob Carney. I say poems are sharks' way of forgiving us for the soup, the necklaces, the movies, and the mascots. And, let's not even mention climate change. Rob Carney's trenchant, probing poems circle around the self, not so much sensing blood but, perhaps even

more dangerously, searching for understanding. Part confession, part documentation, part meditation, these smartly crafted lyrics explore how and why we have and have not allowed sharks (metaphors for so many things) to swim into our lives. This is a major effort from a talented poet."--Dean Rader "

In his ambitious collection, THE BOOK OF SHARKS, Rob Carney reimagines the human world and facets of contemporary society by creating a mythology and origin story that correct the erroneous legend of sharks. In building a new lens through which to view the sea and its most vilified species, Carney o

pens up a new way to conceive of art, life, storytelling, and the connections among living creatures in the sea, on land, and among the stars. 'Some say sharks are the ocean's anger, ' he repeats in two poems, and later--as the collection evolves--they become 'the ocean's blueprint.' In this collect

ion, comprised of seven sections, containing seven poems each, Carney weds structure and symbolism to reinforce his creation myth; correction and etymology to reconfigure historical facts; and repetition of images and phrases to place these poems--all without titles, bleeding poignantly into one ano

ther as part of an ongoing narrative or interconnected species--in the epic tradition. Here we are offered a sympathetic view of sharks, an alternative way to see constellations and their corresponding myths, and a new foundation from which to begin our lives and our stories. Carney's speaker demand

s that we reexamine what is actually dangerous versus what's been stereotyped so, and most of all he begs us to see ourselves new, 'to bear in mind / we aren't the measure of Creation. Just a part.'"--Lisa Fay Coutley

雪夜回舟：中國酷兒主體與西方想像

為了解決Quilt meaning的問題，作者張行 這樣論述：

酷兒主體在臺灣（中華民國）和中國大陸（中華人民共和國）是如何於包含種族化與文明化的殖民進程中，通過以不同卻相關的方式想像西方，而受到形塑呢？為回答這一問題，我採用文本分析為主要研究方法，細讀兩份文化文本，即臺灣作家郭強生的同志小說《惑鄉之人》和中國大陸老年同志秋雨的生命故事。我對兩份文本的分析分別回應著對跨國酷兒親密關係的想像以及對全球酷兒人權階序的想像。 對我而言，中國酷兒的西方想像是一種物質存在：它由物質基礎決定，並且反作用於物質基礎。為闡明其物質性，導論部分，我處理了對於西方的想像以及想像的倫理。被我稱為“親密的距離”的想像倫理來源於我對“雪夜訪戴”故事的閱讀：依戀關係中，一方面，

主體需要將他者客體化和工具化來建立自身主體性；另一方面，主體可以通過與他者刻意維持距離——一種未定的、變化的邊界——來尊重他者的感受和能動。 在第二章《次帝國的慾望：郭強生〈惑鄉之人〉中的跨國親密與冷戰和解》中，我以米山麗莎 (Lisa Yoneyama) 關於美利堅治世下的冷戰和解的論述為理論框架，研究這本臺灣小說中受臺日親密關係遮蔽的西方想像。小說創造出眾多身分混雜的人物，他們的互動暗含著臺灣次帝國的慾望，這表現為征服與受辱的辯證。同時，這一慾望也被對《惑鄉之人》的既有研究所複製，它們推崇著基於國族和解的混雜，卻忽略了混雜身分的排他。就此而言，我認為小說中“真正的告解”將罪犯排除於和解

進程之外，探索受害者和國家所代表的第三方在和解話語上的影響：通過規定寬恕的不可重複性，真正的告解避免受害者與第三方合謀利益，以保障和解的神聖，從而超越了功利原則和國族框架。這也是一種臺灣作為方法的酷兒和解。 在第三章《“紅太陽下的黑靈魂”：一位中國老年同志與他對全球酷兒人權的想像》，我以海澀愛 (Heather Love) “感覺倒退”的酷兒歷史政略為理論框架，探究埋藏於老年同志秋雨對全球酷兒人權的落後想像——一個西方高居頂峰，伊斯蘭深陷谷底，中國位於中間的階序——的酷兒潛能。現有對老年同志的研究大體可被分為兩個模式：關注結構暴力的脆弱性模式和聚焦個體抵抗的能動性模式。根據這兩類競爭卻互補

的模式，秋雨的想像應被視為一種防禦性他者化 (defensive othering) 。然而，我試圖從他的生活經歷出發來理解這一想像。通過分析其生命故事，我聲稱國族國家、市場經濟、新自由主義全球化以及中國社會的恐同情緒之間的交互關聯造成了他從毛時代至後毛時代苦難的連續；在多重力量的互動中，文化作為經濟正常化和異性戀正常化間的中介、作為國族身體和個人身體間的連接，起到了關鍵作用。我聲稱，國族倒退鑲嵌於秋雨的個人史中，以他對全球階序的倒退想像為症候。他苦難的連續提供了不同於官方版本的關於國族歷史之延續的另類敘事，提醒我們挑戰著國族疆界的跨國LGBT運動之不/可能。 兩章的關聯則在於我在臺灣和中

國大陸的分斷體制 (division system) 這一結構下，對國族慾望是如何嵌入日常慾望、以及酷兒主體如何能在追逐日常慾望時與國族慾望保持距離之探問。我對兩份文本的多重脈絡之呈現或可被視作一種在自我和文本之間、臺灣和中國大陸之間、以及中國性和酷兒性之間，維持一種“親密的距離”的努力。