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High Quality Content by WIKIPEDIA articles! A crosswalk is a table that shows equivalent elements (or "fields") in more than one database. It maps the elements in one metadata scheme to the equivalent elements in another scheme.Crosswalks show people where to put the data from one scheme into a different scheme. They are often used by libraries, archives, museums, and other cultural institutions to translate data to or from MARC, Dublin Core, TEI, and other metadata schemes. For example, say an archive has a MARC record in their catalog describing a manuscript. If the archive makes a digital copy of that manuscript and wants to display it on the web along with the information from the catalog, it will have to translate the data from the MARC catalog record into a different format such as MODS that is viewable in a webpage. Because MARC has different fields than MODS, decisions must be made about where to put the data into MODS. This type of "translating" from one format to another is often called "metadata mapping" or "field mapping," and is related to "data mapping," and "semantic mapping."
This book examines the spatial morphologies represented in a wide range of contemporary ethnic American literary and cinematic works. Drawing from Henri Lefebvre's theorization of space as a living organism, Edward Soja's writings on the postmetropolis, Marc Augé's notion of the non-place, Manuel Castells' space of flows, and Michel de Certeau's theories of walking as a practice, the volume extends previous theorizations by examining how spatial uses, appropriations, strictures, ruptures, and reconfigurations function in literary texts and films that represent inhabitants of racial-ethnic borderlands and migrational U.S. cities. The authors argue for the necessity of an alternative poetics of place that makes room for those who move beyond the spaces of traditional visibility-displaced and homeless people, undocumented workers, hybrid and/or marginalized populations rendered invisible by the cultural elite, yet often disciplined by agents of surveillance. Building upon Doreen Massey's conceptualization of liminal space as a sphere in which narratives intersect, clash, or cooperate, this study recasts spatial paradigms to insert an array of emergent geographies of invisibility that the volume traverses via the analysis of works by Chuck Palahniuk, Helena Viramontes, Karen Tei Yamashita, Gloria Anzaldúa, Alejandro Morales, and Li-Young Lee, among others, and films such as Thomas McCarthy's The Visitor, Steven Spielberg's The Terminal, and Alejandro Gonzalez Iñárritu's Babel.