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Journal articles on the topic 'Auguste Rodin'

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Published: 4 June 2021
Last updated: 25 May 2024

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1

Mozur, Nancy. "About the Artist: Auguste Rodin." Psychological Perspectives 56, no. 2 (April 2013): 133–34. http://dx.doi.org/10.1080/00332925.2013.787317.

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2

NERET, GILLES, and ELEANOR ROBBINS. "AUGUSTE RODIN: SCULPTURES AND DRAWINGS." Art Book 1, no. 3 (June 1994): 17a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00133.x.

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3

Newton, Joy. "Camille Mauclair and Auguste Rodin." Nottingham French Studies 30, no. 1 (March 1991): 39–55. http://dx.doi.org/10.3366/nfs.1991.005.

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4

Balius i Juli, Ramon. "El atleta de Auguste Rodin." Apunts. Medicina de l'Esport 44, no. 162 (2009): 104–8. http://dx.doi.org/10.1016/s1886-6581(09)70116-1.

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5

Sotropa, Adriana. "Auguste Rodin et la sculpture roumaine." Ligeia N° 93-96, no. 2 (2009): 157. http://dx.doi.org/10.3917/lige.093.0157.

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6

Lista, Giovanni. "Medardo Rosso, Auguste Rodin et quelques autres." Ligeia N°57-60, no. 1 (2005): 140. http://dx.doi.org/10.3917/lige.057.0140.

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7

Lajoix, Anne. "Auguste Rodin et les arts du feu." Revue de l'Art 116, no. 1 (1997): 76–88. http://dx.doi.org/10.3406/rvart.1997.348330.

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8

Lajoix, Anne. "Auguste Rodin et les arts du feu." Revue de l'art N° 116, no. 2 (February 1, 1997): 76–88. http://dx.doi.org/10.3917/rda.116.0076.

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9

Schoneveld, Erin. "Shirakaba and Rodin: A Transnational Dialogue between Japan and France." Journal of Japonisme 3, no. 1 (December 4, 2018): 52–83. http://dx.doi.org/10.1163/24054992-00031p02.

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This essay examines the role ofShirakaba(White Birch, 1910-1923) as an art magazine that aspired to create new audiences and foster the exchange of ideas by providing an alternate space to address diverse views about modern art, literature, theory, and identity. In addition to introducing European modernism to Japan through the writings of western artists, authors, and thinkers,Shirakabacreated access to and direct exchange of artwork with a number of artists such as Auguste Rodin (1840-1917), Heinrich Vogeler (1872-1942), Max Klinger (1857-1920), and Bernard Leach (1887-1979). Among these,Shirakaba’stransnational dialogue with the French sculptor Auguste Rodin was the most significant. I argue thatShirakaba’sdiscourse with Rodin not only facilitated new forums for the public access and display of modern art in Japan, but also was emblematic of its humanist ideology rooted in artistic subjectivity and self-expression.
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10

Tchalenko, John, and R. Chris Miall. "Auguste Rodin Draws Blind: An Art and Psychology Study." Leonardo 52, no. 5 (October 2019): 483–91. http://dx.doi.org/10.1162/leon_a_01553.

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Late in his life Rodin produced many thousand “instant drawings.” He asked models to make natural energetic movements, and he would draw them at high speed without looking at his hand or paper. To help understand his “blind drawing” process, the authors tracked the eye and hand movements of art students while they drew blind, copying complex lines presented to them as static images. The study found that line shape was correctly reproduced, but scaling could show major deficiencies not seen in Rodin's sketches. The authors propose that Rodin's direct vision-to-motor strategy, coupled with his high expertise, allowed him to accurately depict in one sweep the entire model, without “thoughts arresting the flow of sensations.”
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11

Maingon, Claire. "Auguste Rodin dans la Grande Guerre : le génie instrumentalisé ?" Revue de l'art N° 176, no. 2 (February 1, 2012): 63–69. http://dx.doi.org/10.3917/rda.176.0063.

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12

Miyao, Daisuke. "Hanako, Rodin, and the Close-up." Journal of Japonisme 8, no. 1 (April 7, 2023): 1–30. http://dx.doi.org/10.1163/24054992-08010002.

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Abstract Between 1906 and 1911, Auguste Rodin sculpted more than fifty heads, masks, and busts of the Japanese actress Hanako. It was the largest number of portraits that he did with a single model. This essay explores the question why Rodin was so attracted to Hanako and, in particular, to her face. At the time Rodin was creating sculptures of Hanako’s head, the technique of the close-up was being adopted dramatically in filmmaking. Critics were shocked by the excessiveness of the close-up and tried to understand it in terms of ‘new realism’: the close-up modifies reality without eliminating the realness. This essay connects the theory of the close-up to the discourse of Japonisme.
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13

Arutyunyan, Yuliya Ivanovna. "Images of Gothic architecture in the graphics of Auguste Rodin." Vestnik of Saint Petersburg State University of Culture, no. 4 (53) (December 2022): 136–41. http://dx.doi.org/10.30725/2619-0303-2022-4-136-141.

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The graphic heritage of Auguste Rodin has been studied unevenly, his sketches and sketches of a nude model are devoted to an extensive body of research, while the architectural drawings of the sculptor are not fully covered in modern research literature. For O. Rodin, the Gothic temples of France became an occasion for discussions about the culture and history of the country, about man, harmony and the role of creative energy in the world, these are very individual experiences superimposed on the artistic understanding of the medieval style. The scattered remarks of the famous expert made up an anthology of the artist’s impressions and reflections on the medieval heritage of the native country. The 1914 edition included the author’s text and a series of graphic sketches reproduced with maximum accuracy corresponding to the technical capabilities of the beginning of the century. «French Cathedrals» can be considered as a variant of the artist’s book, where a bright expressive text, given in a conversational manner, is interspersed with light, lively, expressive sketch-like drawings that betray the atmosphere of Gothic churches, architectural details and a sense of the space of churches. O. Rodin’s creative method develops the techniques of the French Impressionists, the images of medieval architecture performed by the sculptor echo a series of views of the Rouen Cathedral by Claude Monet. Expressive sketches created by the intense graphic rhythm of the stroke and the plastic almost sculptural line convey the overall impression of the facade and interior of the temple. O. Rodin created an innovative and traditional image, individual in the understanding of medieval heritage and universal, reflecting the history and culture of France, extremely modern (including from the point of view of the type of publication), but at the same time correlating with the established principle, the work of the Impressionists and the national tradition of understanding French history.
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14

Brummer, Hans Henrik. "II Konstens moral—kring en försvunnen gipsskulptur av Auguste Rodin." Konsthistorisk Tidskrift/Journal of Art History 64, no. 1 (January 1995): 39–46. http://dx.doi.org/10.1080/00233609508604372.

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15

Vujanović, Barbara. "Auguste Rodin and Ivan Meštrović – French connections in Croatian sculpture." Sculpture Journal 25, no. 2 (January 2016): 203–16. http://dx.doi.org/10.3828/sj.2016.25.2.6.

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16

Sabatier, Francois. "Auguste Rodin (1840-1917) et Cesar Franck (1822-1890). Essai d'une etude comparee." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 45 (1991): 77. http://dx.doi.org/10.2307/3686948.

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17

Giustino, Cathleen M. "Rodin in Prague: Modern Art, Cultural Diplomacy, and National Display." Slavic Review 69, no. 3 (2010): 591–619. http://dx.doi.org/10.1017/s003767790001216x.

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Fin-de-siècle Prague, a provincial capital city in the Habsburg empire, was a site of Czech-German nationality conflict. In 1902 it was also home to the largest exhibition of Auguste Rodin's art outside France during his life. Due to the nationalism that enveloped Czech culture and politics, the Rodin spectacle was no mere display of modernism. National activists in the Manes Association of Visual Artists, including Stanislav Sucharda and Jan Kotera, designed the Rodin exhibition to advance Czech cultural maturity through cosmopolitan art and to convince foreigners of the Czech nation's singularity, unity, and progressiveness. Ultimately, though, the events surrounding the exhibition of Rodin's works in Prague projected Czech disagreement over the meanings of folk heritage and western progress for national identity. Still, the blending of modern display and cultural diplomacy strengthened French-Czech relations and in small but significant ways helped secure Czechoslovakia's creation at the end of World War I.
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18

Colombi, Beatriz. "Rubén Darío: supervivencia y mutación de las formas clásicas." Anales de Literatura Hispanoamericana 46 (December 11, 2017): 31–40. http://dx.doi.org/10.5209/alhi.58264.

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Las crónicas que Darío escribe sobre la exposición universal de París de 1900, reunidas luego en Peregrinaciones, interrogan a la cultura moderna en sus puntos ciegos. Darío usa como prisma para su diagnóstico la supervivencia y mutación de las imágenes del mundo clásico revisitada por la cultura de fin de siglo. El trabajo se centra en este momento reflexivo y melancólico del 900, cuando la percepción de la obra de Auguste Rodin coloca a Darío frente a la encrucijada de lo nuevo, donde la figura clásica, o su ruptura, opera como parámetro de su estética, tensionada por modernidades desfasadas
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19

Schmelzer-Ziringer, Barbara. "Der Grand Couturier kokettiert als Künstler: Zu Georg Simmels Modekritik im Kontext seiner Kunstphilosophie." Zeitschrift für Kulturphilosophie 2015/1-2: Simmel 2015, no. 1-2 (2015): 207–22. http://dx.doi.org/10.28937/1000106702.

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"Georg Simmel is regarded as a co-founder of fashion theory. In his treatises of vestmental culture of the fin de siècle developed in his main work on the philosophy of money, he emphasizes imitation as a social force of changes in fashion. The then active makers of clothes and couturiers such as Charles Frederick Worth were not given any attention, Simmel instead developed his basic theorems of art referring to the work of painters and sculptors including Rembrandt and Auguste Rodin. The current debate on the convergence of art and fashion proposes to connect Simmel's philosophical analyses of culture with what were, for him, separate phenomena. "
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20

Gellhaus, Axel. "Balzacs Hausmantel oder: Textprozesse und ihre Bedeutung für die Erschließung komplexer poetischer Strukturen." Die Musikforschung 57, no. 4 (September 22, 2021): 351–62. http://dx.doi.org/10.52412/mf.2004.h4.690.

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Es gibt für Kunsthistoriker in der Regel viel weniger Möglichkeiten, den Konkretisierungsprozess eines Werks zu verfolgen, als für Musik- oder Literaturwissenschaftler. Das hat seinen Grund natürlich in der Linearität der Aufzeichnungssysteme beider Künste, die mit Zeichennotationen operieren. In der Regel sehen wir bei einem Bild, einer Zeichnung oder einer Skulptur nichts als das fertige Werk. Es gibt aber auch in der Kunstgeschichte Beispiele für die Frage, welchen Aufschluss wir gewinnen können, wenn wir die Stadien der Konkretisierung eines Werks studieren. Die Ausführungen zur Balzac-Statue von Auguste Rodin mögen für den Begriff von Werkkonkretisierung Modell stehen und dafür, welchen kognitiven Gewinn man aus seiner Rezeption ziehen kann.
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21

Conquer, Rey. "Making Sense: Hands, Faces & Creation in Rilke’s Auguste Rodin and Die Aufzeichnungen des Malte Laurids Brigge." Oxford German Studies 48, no. 2 (April 3, 2019): 240–60. http://dx.doi.org/10.1080/00787191.2019.1611943.

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22

CARR, R. "Review. Correspondance avec Auguste Rodin. Edition etablie, presentee et annotee par Pierre Michel et Jean-Francois Nivet. Mirbeau, Octave." French Studies 44, no. 1 (January 1, 1990): 76. http://dx.doi.org/10.1093/fs/44.1.76.

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23

Nazarova, I. G., and S. V. Stanevich. ""LEDA" BY R. M. RILKE: A MODERNIST READING OF THE MYTH." Memoirs of NovSU, no. 6 (2023): 591–98. http://dx.doi.org/10.34680/2411-7951.2023.6(51).591-598.

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The article presents a literary analysis of Rainer Maria Rilke's poem "Leda" from several positions. The sonnet is considered as a modernist work created under the influence of Auguste Rodin, having the characteristics of a literary work of a synthetic type and representing the so-called "poem-thing". The presence of a hidden meaning in the poem is proved, which makes the whole work a metaphor for poetic creativity. The ideological influence of the mythological source of the poem is substantiated, which is artistically expressed in the interpretation of the image of the Swan as a Dionysian principle, and not completely Apollinarian. The artistic form of the sonnet is considered and its inherent, in this case, ornamentation in the arrangement of lexical material is proved, which emphasizes the modernist nature of Rilke's work. The conclusion is made about the continuity inherent in the poem, both in the use of mythical personification and poetic form.
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24

Marandel, J. Patrice, Auguste Rodin, and Max Linde. "Rodin's "Thinker": Notes on the Early History of the Detroit Cast: Followed by part one of a correspondence between Auguste Rodin and Max Linde." Bulletin of the Detroit Institute of Arts 62, no. 4 (January 1987): 32–52. http://dx.doi.org/10.1086/dia41504759.

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25

Souza, ALívia Maria de, Verônica Lima dos Reis, Beatriz de Barros Zamonel, and Carina Alexandra Rondini. "Camille Claudel:." Cadernos de Gênero e Diversidade 8, no. 3 (October 18, 2022): 56–71. http://dx.doi.org/10.9771/cgd.v8i3.42053.

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A superdotação é comumente associada à genialidade e a áreas tradicionalmente valorizadas no contexto escolar -, linguagem, matemática e ciências, não sendo tão apreciada em outros campos do saber, como a arte. Tal fator, em conjunto com a inferiorização da mulher pela sociedade, corrobora para a invisibilidade de mulheres com superdotação artística. Objetivou-se, portanto, descrever os desafios enfrentados pela escultora francesa Camille Claudel (1864 – 1943) e analisar suas características sob a ótica da superdotação do tipo produtivo-criativo de Joseph Renzulli. Por meio de estudo exploratório, narrativo, com delineamento bibliográfico, foram elencados manuscritos (artigos, livros e/ou capítulos) sobre a artista, suas características, contexto social do século XIX e os desafios enfrentados por ela. Os resultados mostram que Camille Claudel possuía facilidade em criar, transformar, moldar e modificar objetos; infere-se que sua inteligência assentava-se no domínio espacial e apresentava superdotação na área produtivo-criativo com genialidade artística, todavia, às mulheres de sua época era negado o acesso ao mundo da Arte, exceto como discípulas dos artistas homens. Claudel produziu esculturas grandiosas, mas Auguste Rodin nunca deu os devidos créditos a ela; com a saúde mental comprometida e no forçado anonimato, morreu num asilo aos 79 anos. O texto descortina a urgência de mais estudos e debates sobre: a relação superdotação, gênero e arte; a problemática de uma sociedade machista; a desmitificação da superdotação; o reconhecimento de mulheres superdotadas.
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Plachta, Bodo. "Die Inszenierung von Text- und Werkgenesen in Dichter-, Künstler- und Komponistenhäusern." Editio 33, no. 1 (November 1, 2019): 31–46. http://dx.doi.org/10.1515/editio-2019-0003.

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Abstract The homes of poets, artists and composers are not only memorials and biographical museums but also places in which texts, pieces of art and music were created. A person’s biography is quickly revealed in these homes by looking at the original furniture and the typical objects of daily life common at the time. To make the creative work visible though, guidance and explanations are necessary. In many homes the pieces of work aren’t merely shown, instead, an attempt has been made to provide specific insight into the process of the creation of them. Not only are the relevant documents shown but also, using various media, the origins of the pieces are made comprehensible to the beholder. The origins are staged. Sometimes, with the help of drawers which can be opened, the stages of the origins can be contemplated (Franz Schubert, Wolfgang Koeppen) and then the manuscripts are illustrated in the order of their creation on a time beam (Honoré de Balzac). In Heinrich-Schütz’s home the development of a melody can be followed acoustically. But there are also homes in which their owners – mainly visual artists – even developed concepts for the keeping and archiving of the creation of their works (Gustave Moreau, Auguste Rodin) during their lifetimes, so that the observer can later experience them in all their authenticity in their original surroundings. In this article various forms of conveying the creation of works are presented, commented on and placed in the exploration context of places of creativity.
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27

Sisa, Kristjan. "On the philosophy of work and tools." Studia Vernacula 8 (November 13, 2017): 219–23. http://dx.doi.org/10.12697/sv.2017.8.219-223.

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This article presents the Estonian translation of the book Hammer and Silence. A Short Introduction to the Philosophy of Tools by the Finnish artist andresearcher Jyrki Siukonen. The topics covered in the book range from observing a tool as such to existential questions about human activity. It is a good guide for anyone with manual dexterity, and of great assistance to the rest who wish to understand them. The book resembles a literary version of a meticulously detailed sculpture. Jyrki Siukonen presents the sculptor’s viewpoint. The author seems to havesympathy for a person like him: a bricoleur, a DIY enthusiast, a person who works with their hands and who, unlike most craftsmen, never takes the easy way out. The discussion of the relationship between tools and human beings is very enlightening: when do tools serve humans and when are humans at the service of tools? The book also examines the prospect of humanity’s manual and mental development. This discussion culminates in the following question: “What happens if people are offered the possibility of renouncing the selffulfilment they find in doing things with their hands?“ In other words, once the Industrial Revolution has reached its peak – what then? This essayistic text has been structured into coherent paragraphs. The more the ideas of the book are thrown around, the more well-grounded the book itself is. The focal points of the discussion include visionaries such as Eva Hesse, Constantin Brâncuşi, Auguste Rodin, Antti Hyry, and Ludwig Wittgenstein. The translation into Estonian has been made with pinpoint accuracy. The translator, Jaan Pärnamäe, conveys the details of the source text with great finesse. Siukonen argues that learning is not only a process of developing innate abilities by imitation. It is something more, something that seeps into a person through birth, space, time, and place; in some instances, this is successful. The author describes the indescribable in the context of human activity and creativity. He examines his topic from several viewpoints until his understanding assumes a clear shape in the readers’ minds. The text is easier to understand if the reader has had contact with handicraft and creative work beforehand. The book provides a mental reference point for creative minds who express themselves by doing things with their hands now, in the twenty first century.
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Whitley, Rob, David S. Fink, Julian Santaella-Tenorio, and Katherine M. Keyes. "Suicide Mortality in Canada after the Death of Robin Williams, in the Context of High-Fidelity to Suicide Reporting Guidelines in the Canadian Media." Canadian Journal of Psychiatry 64, no. 11 (June 10, 2019): 805–12. http://dx.doi.org/10.1177/0706743719854073.

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Background: Evidence suggests that suicide mortality increases after high-profile suicide deaths. Indeed, suicide in the United States increased disproportionately after the suicide by suffocation of well-known comedian Robin Williams in August 2014. Such increases are often attributed to irresponsible media coverage of the suicide contributing to “copycat suicides.” However, recent research indicates that the mainstream Canadian media have significantly improved their suicide coverage, with high fidelity to suicide reporting guidelines after Williams’ death. As such, the aim of the present study is to examine suicide mortality in Canada after Robin Williams’ suicide. Methods: We obtained deidentified monthly suicide count data from January 1999 to December 2015 stratified by age, sex, and method of suicide from Statistics Canada. We used time-series analyses to estimate the expected number of suicides in the months following Robin Williams’ death. This was done using a seasonal autoregressive integrated moving averages (SARIMA) method. Expected suicides were then compared with observed suicides. Results: August 2014 was the month with the highest number of suicides from 2010 to 2015. The time-series model indicated a 16% increase in the expected number of suicides during the months from August to December 2014 inclusive. Moreover, males over 30 had the greatest number of excess suicides, and suicides by suffocation (the method used by Robin Williams) were also higher in August and the following months. Interpretation: Suicides increased in Canada after Robin Williams’ death, despite the improved mainstream media coverage witnessed in other studies. Other factors (e.g., social and alternative media) may have contributed to the observed increase in suicide.
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Yasgur, Jay. "Robin Murphy (15 August 1950 to 17 November 2021)." Homœopathic Links 35, no. 01 (March 2022): 086–88. http://dx.doi.org/10.1055/s-0042-1743574.

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30

Combe, K. "ROBIN SOWERBY, The Augustan Art of Poetry: Augustan Translation of the Classics." Notes and Queries 54, no. 4 (December 1, 2007): 520–21. http://dx.doi.org/10.1093/notesj/gjm229.

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31

Lowers, H., A. Koenig, S. Wilson, D. Adams, and G. Meeker. "A U.S. Geological Survey Round Robin for Microanalytical Techniques." Microscopy and Microanalysis 17, S2 (July 2011): 848–49. http://dx.doi.org/10.1017/s1431927611005113.

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32

Holliday, Robin, and Richard B. Flavell. "Correction for Holliday and Flavell, John Robert Stanley Fincham. 11 August 1926 – 9 February 2005." Biographical Memoirs of Fellows of the Royal Society 54 (January 2008): 483. http://dx.doi.org/10.1098/rsbm.2008.3000.

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Correction for ‘John Robert Stanley Fincham. 11 August 1926 – 9 February 2005’ by Robin Holliday and Richard B. Flavell (Biogr. Mems Fell. R. Soc. 52 , 83–95. (doi: 10.1098/rsbm.2006.0007 )). On page 86, line 30, ‘in that laboratory’ should read ‘at Stanford University’.
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Winn, James A. "The Augustan Art of Poetry: Augustan Translation of the Classics, by Robin Sowerby." Translation and Literature 16, no. 1 (March 2007): 98–104. http://dx.doi.org/10.3366/tal.2007.0013.

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34

Franklin, Michael J. "The Augustan Art of Poetry: Augustan Translation of the Classics by Robin Sowerby." Modern Language Review 103, no. 1 (2008): 194–95. http://dx.doi.org/10.1353/mlr.2008.0094.

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Walker, Robert G. "The Augustan Art of Poetry: Augustan Translation of the Classics by Robin Sowerby." Scriblerian and the Kit-Cats 42, no. 1 (2009): 59–61. http://dx.doi.org/10.1353/scb.2009.0040.

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36

Popiel, Magdalena. "Rodin, czyli świat. Dwie kosmogonie – Rainera Marii Rilkego i Georga Simmla." Przestrzenie Teorii, no. 29 (January 31, 2019): 15–29. http://dx.doi.org/10.14746/pt.2018.29.1.

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The article is a comparative analysis of the modernist aesthetics of creation. It describes how Rilke and Georg Simmel discovered August Rodin’s rules of modern perception, sensitivity and creative imagination. In the work of both writers we see them striving to interpret works of art as a creative process that is the effect of their astute diagnosis of contemporary culture. A new approach to aisthesis restores value to aesthetic experience and opens up broader learning opportunities.
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37

Melamed, Andra J., and Michael L. Kleinberg. "Handling Considerations for Cancer Chemotherapeutic Agents." Drug Intelligence & Clinical Pharmacy 22, no. 3 (March 1988): 247–51. http://dx.doi.org/10.1177/106002808802200317.

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Since the introduction of antineoplastic agents in the 1940s, there have been reports of the effects of these agents on workers who have had prolonged contact with them. The Regional Oncology Drug Information Center (RODIC) at Memorial Sloan-Kettering Cancer Center receives numerous inquiries nationwide regarding our policies and procedures for handling antineoplastic agents. In August 1987, RODIC conducted a computerized literature search on the handling of antineoplastic agents and the risks to hospital employees coming in contact with these agents. We used the MEDLINE system from 1966 to the present, limiting the search to English-language articles. This article provides a comprehensive bibliography on the handling of antineoplastic agents.
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38

Tohid, Hassaan. "Robin Williams' suicide: a case study." Trends in Psychiatry and Psychotherapy 38, no. 3 (September 2016): 178–82. http://dx.doi.org/10.1590/2237-6089-2015-0064.

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Abstract Introduction: The world renowned comedian and four-time Oscar nominated actor Robin Williams died on August 11, 2014. From the outset, the news indicated that his death was believed to be a suicide and this was later confirmed to be true by the autopsy reports. Williams had been suffering from severe depression, which is believed to be the leading contributor to his suicide. In this case study, I will highlight the event of the actor's suicide and the main risk factors along with depression leading to his tragic death. As of the end of 2015, no other case study seemed to have addressed or explored the links between the cause (or causes) and events leading to Robin Williams' suicide. Case description: Robin Williams was suffering from relationship problems, financial problems, drug addiction, and major depression. All of these factors led to his suicide. Comments: The chances of committing suicide drastically increase in the presence of any of the key risk factors. Unfortunately, the actor Robin Williams was dealing with four of the major risk factors all together, which put him at a high risk of committing suicide and eventually led to his tragic death.
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Liunokas, Yanpitherszon. "The Efficacy of Using Round Robin Technique in Teaching Speaking to Indonesian English as Foreign Language (EFL) Students." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 10, no. 2 (December 20, 2022): 1200–1207. http://dx.doi.org/10.24256/ideas.v10i2.3353.

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This research aims at finding out the efficacy of using round robin technique in teaching speaking especially to Indonesian English as Foreign Language (EFL) students. The main question of this research: Is the use of round robin technique effective in teaching speaking to Indonesian EFL students? The research can be an addition to the persisting teaching speaking in English. The research was conducted in August 2022. This research was conducted at First semester students of the English Study Program of Nusa Cendana University, Kupang. The population of this research was First semester students of the English Study Program of Nusa Cendana University, Kupang in the 2021/2022 academic year. The number population is 160 in four classes. The research used a pre-experimental method with a pre-test and post-test design. The pre-test was given to find out the basic ability of the students in mastering speaking and the post-test given to find out the students’ improvement in mastering speaking after giving the treatment by using round robin technique. The findings show that using round robin technique is effective in teaching speaking to Indonesian EFL students. It is supported by the result of the significance test through SPSS 20 program that the P was 0.00. Therefore, it is recommended to use the round robin technique in developing students’ speaking of Indonesian EFL students
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40

Jackson, Kathy Merlock. "The Trajectory of a Comic Celebrity's Career: Robin Williams Does Television." Popular Culture Review 29, no. 1 (March 2018): 131–39. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00221.x.

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Abstract:The whole world mourned when actor and comedian Robin Williams ended his life on August 11, 2014 at his home in Tiburon, California. The larger‐than‐life actor and comedian was best remembered for big‐screen performances as a warm paternal figure or caregiver, often a man‐child with traces of arrested development. Williams accomplished what many television actors today aspire to but cannot achieve: he made the transition from situation comedy star to movie star. This article explores Robin Williams's early career in television, arguing that his unconventional role in Mork and Mindy proved the perfect vehicle for this, informing his future roles and serving as a trajectory for his film career, thus offering a thematic lesson for comic actors seeking movie stardom.
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41

Merlet, C., X. Llovet, L. Aufore, S. Brémier, X. Deschanels, O. Dugne, J. Lamontagne, et al. "Analysis of Pu by Virtual-standard WDS-EPMA. Results of an Interlaboratory Round-robin Test." Microscopy and Microanalysis 14, S2 (August 2008): 1094–95. http://dx.doi.org/10.1017/s1431927608081737.

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42

Ferrari, Ilka Franco, and Astarute Maria Mendes. "PONTUAÇÕES ACERCA DO AMOR NA NEUROSE E NA PSICOSE: ENSINAMENTOS DE CAMILLE CLAUDEL." Psicologia em Revista 25, no. 3 (September 29, 2020): 1120–34. http://dx.doi.org/10.5752/p.1678-9563.2019v25n3p1120-1134.

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O texto percorre o tema de parcerias amorosas, com base em ensinamentos da psicanálise freudiana e lacaniana, sem desconsiderar, portanto, que não há norma para a relação sexual e que, se há gozo autoerótico, o amor lhe faz oposição ao favorecer abertura para o Outro. Nesse percurso, elegeu-se tecer considerações baseadas em certos modos de funcionamento de parcerias amorosas, na neurose e psicose. O foco na psicose é um pouco mais ampliado, na busca de afirmar que esses sujeitos têm a possibilidade de amor, diferentemente do que se pode pensar. Por isso, Camille Claudel é convocada à cena, na busca de ensinamentos sobre o amor morto, discordante com a vida, característico da psicose, vivenciado na parceria com August Rodin.
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43

Rousseau, Antoine. "Gems: From Bangkok to Lausanne. Belgian Jurist Gustave Rolin-Jaequemyns’ Letter to his French Colleague Ernest Lehr." Journal of Migration History 7, no. 1 (April 22, 2021): 77–84. http://dx.doi.org/10.1163/23519924-00701003.

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Abstract The section ‘Gems’ consists of short articles which present sources that might be of interest to migration researcher. In this Gems: a letter sent from Bangkok on 23 August 1896 by Gustave Rolin-Jaequemyns to his French colleague Ernest Lehr. We show that this document enables us to highlight the international networks in which international law scholars were involved. It reveals the professional concerns and problems of the lawyer, but also the social reality of his daily life.
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44

Dytham, C., J. Grahame, and P. J. Mill. "Synchronous Penis Shedding in the Rough Periwinkle, Littorina Arcana." Journal of the Marine Biological Association of the United Kingdom 76, no. 2 (May 1996): 539–42. http://dx.doi.org/10.1017/s0025315400030733.

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Penis size and morphology of an oviparous species of rough winkle Littorina arcana Hannaford Ellis (Gastropoda: Prosobranchia) was studied at Robin Hoods Bay on the English east coast. Monthly collections were made over a two year period from August 1987 to August 1989 and again from May to December 1993. Number of penial glands was recorded and a six point scale was used to quantify penis maturity. Results indicate that male L. arcana shed their penes in summer and regenerate a new one during the following 12–20 weeks. Male L. arcana in captivity shed penes in July but not in November. The significance of penis shedding and the differences in reproductive seasonality between L. arcana and its ovoviviparous sibling species L. saxatilis is discussed.
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45

Venn, Edward. "Manchester, RNCM: Robin Holloway's String Quartet, op. 97." Tempo 58, no. 228 (April 2004): 64–66. http://dx.doi.org/10.1017/s0040298204270152.

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The world première of Robin Holloway's String Quartet, given by the Endellion Quartet at the RNCM on 13 October 2003, came in the midst of a number of concerts around the country marking the composer's 60th birthday. (Let us not forget, too, Claridge Press's publication of Holloway's writings, also coinciding with this anniversary.) Clever programming between Haydn's quartet op. 76 no. 4 and Brahms's op. 51 no. 2, enabled one to appreciate Holloway's first essay in this genre in the context (on the one hand) of a composer for whom the string quartet was seemingly an effortless medium, and (on the other) of a composer on whom the quartet tradition weighed heavily. For Holloway too, the string quartet proved problematic, and almost unassailable – his highly biographical programme-note revealed an initial inability to engage with ‘this most hallowed of the classic media, with its incomparably rich literature’. This inhibition threatened to stifle work altogether, for it was only a final attempt in August 2003, after three ‘sterile years’ of trying, that Holloway found a way through the problems the string quartet posed him.
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46

Mason, Tom. "The Augustan Art of Poetry: Augustan Translation of the Classics. Robin Sowerby. Oxford: Oxford University Press, 2006. Pp. x+368." Modern Philology 106, no. 2 (November 2008): 286–89. http://dx.doi.org/10.1086/598552.

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47

Hoffmann, Torsten. "Rilke als Redner. Publikumskommunikation und Kunstvermittlung in den Vorträgen ,,Moderne Lyrik” (1898) und ,,Vom Werke Auguste Rodins” (1905/1907)." Zeitschrift für Germanistik 20, no. 3 (January 1, 2010): 543–62. http://dx.doi.org/10.3726/92130_543.

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Dowling, Damian K. "Breeding biology of the red-capped robin." Australian Journal of Zoology 51, no. 6 (2003): 533. http://dx.doi.org/10.1071/zo03028.

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The breeding biology of the red-capped robin (Petroica goodenovii) (Petroicidae) was studied over two breeding seasons (2000–02) in Terrick Terrick National Park, Victoria. Breeding commenced in August and the last offspring fledged in January. Only females developed brood patches, built nests and incubated. However, both sexes fed the young. Clutch size ranged from one to three eggs, with a mean of 2.1, with clutches of three occurring relatively early in the season. For clutches of two, the period from laying of the first egg to hatching was 14 or 15 days, with a mean of 14.2. The time from hatching to fledging was 13–15 days, with a mean of 14. In all, 34% of nesting attempts successfully fledged offspring. On average, 0.62 fledglings were produced per nesting attempt, whilst 0.57 offspring reached independence. Nesting success peaked in October. Predation appears to be responsible for almost all nest failure, and predation rate varied over the season. Breeding pairs produced 0–3 broods per season (0–5 independent fledglings) and pairs that began nesting early in the season produced a greater number of independent offspring. Nestling weight was affected by both laying date and brood size. A comparative analysis within the Petroicidae, controlled for body size, revealed that species endemic to Australia have shorter incubation periods, and species from semi-arid and dry woodlands have longer incubation periods than other species. Findings from this study are discussed in relation to the breeding ecology of other members of the Petroicidae.
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Sherman, Jason. "The Daniel Brooks Lectures." Canadian Theatre Review 67 (June 1991): 17–21. http://dx.doi.org/10.3138/ctr.67.003.

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An early observer of Daniel Brooks’ artistic activities noted that “Daniel seems to enjoy any such activity for itself rather than for the end results.” The assessment was made by a counsellor at Camp Robin Hood; Brooks was four. A more recent observer, reviewing Red Tape, the play that Brooks created and performed with the Augusta Company in Toronto, concluded that: “Nothing has been resolved when the actors leave the stage … the play has an unfinished feeling about it, but that (it would seem) is part of [the company’s] style and intention.” The assessment was made by Ray Conlogue, critic at The Globe and Mail; Brooks was 31.
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50

Ślęczka, Ryszard. "Cracow Families' Legacies and Endowments for Children and Adults Welfare in the Second Half of the19 Century." Family Upbringing 2, no. 2 (June 30, 2011): 261–71. http://dx.doi.org/10.61905/wwr/171239.

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In the second half of the 19 century in the Polish territory appearred a numerous of foundations and institutions for children and adults welfare. It is worth to mention operation of August Józef Iliński in Równe (Wołyń) and clergyman Jakub Falkowski, which in 1917 contributed to the establisment of Institute for Deaf People in Warsaw. Since 1917 in Cracow was functioning Benevolent Society which was managing numerous endowments received by Cracow hospitals. The Society was running an extensive charitable activity, a school, shelters for the orphans and old people. It organized also purchase of food, clothing, combustible and medicins for the poor. Siemaszko's Institution for Boys in Długa Street and Prądnicka Street owns its existence to generosity of the benefactors. A 4-class-school, workshops and accomodation for 400 boys were run by this institution. It is worth to mention St. Joseph's Institution for the orphaned boys, which existed owing to Piotr Michałowski's endowment, and the initiatives of Henryk Jordan having aimed to an establisment of Society for Catholic Workers' Cheap Accomodation as well as Jordan's public garden eagerly visited by Cracow dwellers until now. Among the most significant individual endowments of the most remarkable is a 2 million franc legacy of Aleksander Lubomirski for an establisment of an educational institution for the neglected boys in Rakowiecka Street, and House of the Poor initiated owing to benevolence of Anna and Ludwik Helcel
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