To see the other types of publications on this topic, follow the link: David (1966-...).
Journal articles on the topic 'David (1966-...)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'David (1966-...).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Doran, Mark. "COMPOSER IN INTERVIEW: DAVID MATTHEWS." Tempo 57, no. 223 (January 2003): 2–14. http://dx.doi.org/10.1017/s0040298203000019.
Full textAbstract:
David Matthews was born in Walthamstow, London, in 1943. He began composing – with an attempt at a full-scale symphony – at the age of 16 but, being self-taught and formally unqualified in music, went to study classics at Nottingham University (1962–65; the university awarded him an Honorary Doctorate in Music in 1997). Starting in the early 1960s he was one of the musicians (along with his composer brother Colin and the composer and conductor Berthold Goldschmidt) who assisted Deryck Cooke in the preparation of what became Cooke's famous ‘Performing Version’ of the draft of Mahler's Tenth Symphony. Between 1966 and 1969 Matthews took lessons from Anthony Milner. During this period he was also working at Aldeburgh as an assistant to Benjamin Britten (1966–70); a few years later, it was to be in an improvised piano-duet version played by David and Colin Matthews that the partly paralysed Britten first heard his own Third String Quartet (1975).
2
Rainer, Yvonne. "Trio A: Genealogy, Documentation, Notation." Dance Research Journal 41, no. 2 (2009): 12–18. http://dx.doi.org/10.1017/s0149767700000619.
Full textAbstract:
I worked on Trio A alone for six months in 1965. The dance initially consisted of a five-minute sequence of movement that would eventually be presented as The Mind Is a Muscle, Part I at Judson Church (on January 10, 1966). There it was performed by me, David Gordon, and Steve Paxton simultaneously but not in unison. An interim version of an extended, but not complete, The Mind Is a Muscle (Judson Church, May 22, 1966) was performed by William Davis, David Gordon, and Steve Paxton. In the final section of this version, called “Lecture,” Peter Saul executed a balletic solo version—that is, with pirouettes and jumps. In the final version (Anderson Theater, April 11, 1968) Trio A was performed by me in tap shoes (without balletic furbelows) at the end of the evening while Paxton, Gordon, and Davis performed it as a trio at the beginning.The individual sequences last from four and a half to five minutes, depending on each performer's physical inclination. Two primary characteristics of the dance are its uninflected continuity and its imperative involving the gaze. The eyes are always averted from direct confrontation with the audience via independent movement of the head, closure of the eyes, or simple casting down of the gaze.
3
Driscoll, John, and Matt Rogalsky. "David Tudor's Rainforest: An Evolving Exploration of Resonance." Leonardo Music Journal 14 (December 2004): 25–30. http://dx.doi.org/10.1162/0961121043067415.
Full textAbstract:
Of the works of David Tudor, none would seem to be better known than Rainforest IV, his large-scale performed installation of the 1970s. Although it has received widespread and well documented public performance, Rainforest's germination in the mid-1960s in elements of Bandoneon! (1966) and its evolution over a period of 10 years, from versions I (1968), II (1968–1969), III (1972) and IV (1973) through Forest Speech (1976), have not yet been adequately assessed. This paper follows Rainforest's trajectory chronologically: Matt Rogalsky focuses on the early versions of the work, and John Driscoll describes the collaborative development of Rainforest IV.
4
Blodi, Christopher F. "David Kasner, MD, and the Road to Pars Plana Vitrectomy." Ophthalmology and Eye Diseases 8s1 (January 2016): OED.S40424. http://dx.doi.org/10.4137/oed.s40424.
Full textAbstract:
David Kasner, MD (1927–2001), used his extensive dissections of eye bank eyes and experiences in teaching cataract surgery to resident physicians to realize that excision of vitreous when present in the anterior chamber of eyes undergoing cataract surgery was preferable to prior intraoperative procedures. Noting that eyes tolerated his maneuvers, he then performed planned subtotal open-sky vitrectomies; first on a traumatized eye in 1961, then on two eyes of patients with amyloidosis (1966–1967). The success of these operations was noted by others, most particularly Robert Machemer, MD. Kasner's work directly led to further surgical developments, including closed pars plana vitrectomy.
5
Schlegel, R., and H. D. Slade. "Alteration of Macromolecular Synthesis and Membrane Permeability by a Streptococcus sanguis Bacteriocin." Microbiology 81, no. 1 (January 1, 2000): 275–77. http://dx.doi.org/10.1099/00221287-81-1-275.
Full textAbstract:
Although the elaboration of bacteriocins by streptococci has been described previously (Brock & David, 1963; Kuttner, 1966; Kelstrup & Gibbons, 1969; Overturf & Mortimer, 1970; Kramer & Brandis, 1972), few attempts have been made to purify and characterize these bactericidal factors (Kramer & Brandis, 1972). Streptococcus sanguis (strain Challis) produces a streptocin which is lethal for Streptococcus sanguis (strain Wicky) and can be purified by ammonium sulphate fractionation and Sephadex G-100 column chromatography. We exposed sensitive strain Wicky cells to Challis streptocin and observed macromolecular synthesis and membrane permeability.
6
Madan, T. N., and Adrian C. Mayer. "From the Archive." Contributions to Indian Sociology 52, no. 2 (April 19, 2018): 212–29. http://dx.doi.org/10.1177/0069966718763848.
Full textAbstract:
Comprising two parts, the article focuses on the closure in 1966 of Contributions to Indian Sociology, the journal founded in 1957 by Louis Dumont and David Pocock. The two authors, T.N. Madan and Adrian C. Mayer, write about the transition of Contributions to Indian Sociology to Contributions to Indian Sociology: New Series in 1967. Their recollections are based on their correspondence with Dumont and each other. The intention is to place on record the origin and scope of the two journals.
7
Butler, Jim. "Fourteen Poems by C. P. Cavafy, chosen and illustrated by David Hockney, translated by Nikos Stangos and Stephen Spender (1966–67)." Book 2.0 10, no. 2 (December 1, 2020): 263–67. http://dx.doi.org/10.1386/btwo_00035_5.
Full textAbstract:
Review of: Fourteen Poems by C. P. Cavafy, chosen and illustrated by David Hockney, translated by Nikos Stangos and Stephen Spender (1966–67) London: Editions Alecto, Edition A, Folio, illustrated with 12 etchings bound and 1 loose etching, cotton silk boards and silk slipcase, limited edition item
8
Anil Kumar and K.K.N. Nambiar. "AN IMPROVED METHOD FOR ISOLATION OF THIELAVIOPSIS PARADOXA FROM STEM BLEEDING AFFECTED COCONUT PALMS." CORD 7, no. 01 (June 1, 1991): 34. http://dx.doi.org/10.37833/cord.v7i01.243.
Full textAbstract:
Stem bleeding of coconut caused by Thielaviopsis paradoxa (de Seynes) Von Hohnel is an important disease affecting coconut in many countries (Menon and Pandalai, 1958; Ohler, 1966, Nambiar and Sastry, 1988). lsolation of the pathogen from diseased tissues on different agar based media has given inconsistent results (Anon., 1976; Anon., 1986), None of the selective media reported for certain related fungi viz., T. basicola (Berk and Br.) Ferr. (David, 1978;Tsao and Bricker, 1966) and Ceratocystis wagnerii Goheen and Cobb (Hicks et al., 1980) proved useful for the isolation of T. paradoxa Since, standardization of an isolation method is a basic necessity for any study on plant pathogens, an attempt was made to improve upon existing methods.
9
Hack, Karl. "David Easter. Britain and the Confrontation with Indonesia, 1960–1966. London: Tauris, 2004. Pp. x+254. $65.00 (cloth)." Journal of British Studies 46, no. 2 (April 2007): 422–23. http://dx.doi.org/10.1086/514373.
Full text
10
Mahabir, Cynthia. "Wit and popular music: the calypso and the blues." Popular Music 15, no. 1 (January 1996): 55–81. http://dx.doi.org/10.1017/s0261143000007960.
Full textAbstract:
Calypso is an art form that laughs at pain. That's the way we deal with our blues. We begin to heal ourselves immediately, through our culture and our music.' (David Rudder, Trinidad, New York Times, 31 March 1991)When you see me laughin', I'm laughin' to keep from cryin', but the laughter of these songs, implicit or overt, as often as not absorbs the tears.' (Langston Hughes 1966, p. 97)
11
Petro, Jane A. "Total Burn Care; Edited by David N. Herndon Philadelphia, W.B. Saunders, 1966 illustrated." Journal of Intensive Care Medicine 12, no. 2 (March 1997): 110–11. http://dx.doi.org/10.1177/088506669701200207.
Full text
12
Haacker, Klaus. "Die Geschichtstheologie von Röm 9–11 im Lichte philonischer Schriftauslegung." New Testament Studies 43, no. 2 (April 1997): 209–22. http://dx.doi.org/10.1017/s0028688500023225.
Full textAbstract:
In seinerManson Memorial Lecturevon 1965 hat Henry Chadwick eine Lanze dafür gebrochen, die Literatur des hellenistischen Judentums bevorzugt zur Erhellung der Theologie des Neuen Testaments heranzuziehen und nicht von den neu entdeckten Qumran-Schriften verdrängen zu lassen.1Sein Plädoyer scheint, was Philo betrifft, nicht allzu viel bewegt zu haben; jedenfalls nennt das Register der Philo-Bibliographie von Roberto Radice und David Runia nach 1966 nur eine einzige Untersuchung zum Thema ‘Paulus und Philo’ im ganzen.2Anscheinend können sich Exegeten, die auf Paulus eingeschworen sind, nur wenig für Philo erwärmen3. Dafür gibt es sicher Gründe im unterschiedlichen Profil dieser beiden Theologen; aber es könnte auch damit zusammenhängen, daβ die Wirkungsgeschichte des einen und das Image des anderen unnötig weit auseinanderklaffen. Bei beiden hat die neuere Forschung dazu geführt, das jüdische Erbe höher zu veranschlagen als früher.4Das Könnte sie auch einander näherbringen; erneute vergleichende Lektüre scheint also angezeigt.
13
Alves de Matos, AP. "Editorial." Microscopy and Microanalysis 19, S4 (August 2013): i. http://dx.doi.org/10.1017/s1431927613001876.
Full textAbstract:
SPMicros was born in the year 1966 and since then the Society has promoted 46 annual Congresses. These have been long recognized as a nursery for young scientists with a special interest in microscopy. The meetings of the Society, fostered by high level scientists like David Ferreira and Teixeira da Silva, to mention only the ones that have left us this year, were once marked by a exigent standard of quality that left a lasting mark in all of us.
14
Simon, Christopher A., and Raymond Tatalovich. "Party, Ideology, and Deficits: Provincial Fiscal Policy and the Cameron Thesis, 1966–2009." Canadian Journal of Political Science 47, no. 1 (March 2014): 93–112. http://dx.doi.org/10.1017/s000842391400016x.
Full textAbstract:
AbstractIn a 1985 publication David Cameron reported that historically leftist governments had governed with smaller deficits than rightist governments. The party ideology variable was incorporated into a large body of subsequent research, mainly by economists, to study the growth of public spending and indebtedness. Most agreed with Cameron; some did not. Virtually all studies focused on western European nations (but not subnational governments). This study analyzes provincial deficits or surpluses over the period 1966 to 2009 and determines that rightist parties, despite controls for economic and other political variables, have lower budgetary deficits, a finding which contradicts Cameron but is consistent with five previous studies of provincial spending in Canada.
15
Davis, Gayle, and Roger Davidson. "“A Fifth Freedom” or “Hideous Atheistic Expediency”? The Medical Community and Abortion Law Reform in Scotland, c.1960–1975." Medical History 50, no. 1 (January 1, 2006): 29–48. http://dx.doi.org/10.1017/s0025727300000120.
Full textAbstract:
The purpose of the Medical Termination of Pregnancy Bill, published on 15 June 1966, was to amend and clarify the law relating to termination of pregnancy by a registered medical practitioner. When David Steel, a young Liberal MP from the Scottish Borders, put this bill forward, some suggested that a Scottish politician had no need to introduce abortion reform since Scots law was already satisfactory in this regard. Certainly, abortion law in Scotland was more flexible than its English counterpart, and the number of prosecutions few. The line between criminal and non-criminal abortion was, however, just as indistinct, with great medical uncertainty in this area. On becoming law, the 1967 Abortion Act was the first piece of abortion-related legislation to cover Scotland, England and Wales collectively. None the less, for a variety of legal and moral reasons, abortion policy and practice continued to differ on either side of the Border.
16
HEILBRONNER, ODED. "Music and Revolution in the Long 1960s." Twentieth-Century Music 14, no. 3 (October 2017): 463–71. http://dx.doi.org/10.1017/s1478572217000354.
Full textAbstract:
When discussing the relationship between popular music and social-political change in the long 1960s, historians and critics have tended to fluctuate between two opposing poles. On the one hand, there is Arthur Marwick's approach, echoed in Jon Savage's recent book 1966: The Year the Decade Exploded. In Marwick's cross-national survey, he examines social change in the West during the ‘Long Sixties’ (1958–72), when a ‘cultural revolution’ occurred in which protest music played a major role. On the other hand, there are Peter Doggett's and Dominic Sandbrook's observations that the top-selling albums of the 1960s and 1970s did not include some masterpiece by the Beatles, the Rolling Stones, Bob Dylan, David Bowie, Queen, or other leading figures in rock music, but rather the soundtrack of The Sound of Music. Sandbrook writes that it ‘projected a familiar, even conservative vision of the world, based on romantic love and family life. In a period of change it offered a sense of reassurance and stability, not only in its plot but also in its musical style . . . [T]hese were the values of millions . . . in the Swinging Sixties’. Doggett similarly points to the popularity of Julie Andrews and the soundtracks of Mary Poppins and The Sound of Music. These soundtracks ‘made no attempt to alter the culture or educate the listener’ he suggests, and that is why they have been relegated ‘to a footnote in the history of popular music’ even while being the top-selling records of 1965 and 1966.
17
Gutiérrez Martínez, Begoña. "Sonidos en serie. Interacciones entre imagen y música en Mad Men." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 18 (January 17, 2020): 69. http://dx.doi.org/10.7203/eutopias.18.16843.
Full textAbstract:
La serie televisiva Mad Men (Mathew Weiner, 2007-2015) está ambientada en la década de 1960 en Nueva York y versa principalmente sobre el universo de la publicidad. Su banda sonora, de gran riqueza y variedad, contiene tanto temas compuestos ad hoc, como otros preexistentes. Nuestro objetivo es analizar las interacciones que se establecen entre imagen y música en la primera temporada de la serie empleando la metodología de análisis textual. Examinaremos su mundo sonoro, así como las sensaciones que produce para explicitar la experiencia de los espectadores. Con este fin, diseccionaremos diferentes escenas de la primera temporada en las que suenan temas musicales característicos de este texto audiovisual. En primer lugar, nos centraremos en los procesos creativos desarrollados por el compositor David Carbonara y la supervisora musical Alexandra Patsavas, responsables de la música de Mad Men. En segundo lugar, analizaremos distintas escenas en las que suenan los siguientes temas: «A Beautiful Mine» (RJD2, 2006); «Band of Gold» (Don Cherry, 1955); «On The Street Where You Live» (Vic Damone, 1956); «P.S. I Love You» (Bobby Vinton, 1967); «The Great Divide» (The Cardigans, 1996); «Água de beber» (Astrud Gilberto y Antonio Carlos Jobim, 1965); «Mad Men Suite» (David Carbonara, 2007); y «Don’t Think Twice, It’s All Right» (Bob Dylan, 1963). Por último, en las conclusiones expondremos cómo interactúa la música con las siguientes dimensiones del texto audiovisual: elementos formales de la serie; narrativa; y precisión histórica.
18
Goes, Maria Lívia Nobre. "O teatro de guerrilha segundo R. G. Davis." Sala Preta 19, no. 1 (August 30, 2019): 134–49. http://dx.doi.org/10.11606/issn.2238-3867.v19i1p134-149.
Full textAbstract:
A expressão “teatro de guerrilha” aparece pela primeira vez em um ensaio de R. G. Davis, então diretor da San Francisco Mime Troupe, publicado na Tulane Drama Review em 1966 e rapidamente ganha adesão no ambiente de efervescência política e experimentação contracultural do teatro alternativo nos anos 1960 e 1970. Este artigo analisa o desenvolvimento das formulações de Davis sobre o tema entre 1965 e 1971, com destaque para as experiências da San Francisco Mime Troupe.
19
Williams, David. "‘A Place Marked by Life’: Brook at the Bouffes du Nord." New Theatre Quarterly 1, no. 1 (February 1985): 39–74. http://dx.doi.org/10.1017/s0266464x0000141x.
Full textAbstract:
After his experimental work with the Royal Shakespeare Company, which bore fruit in the production of Marat/Sade in 1964 and culminated in the controversial Vietnam play US in 1966, Peter Brook returned to the classical repertoire in which he had made his name as ‘enfant terrible’ of British theatre, with Seneca's Oedipus for the National Theatre in 1968, and, two years later, A Midsummer Night's Dream for the RSC. But the very success of ‘Brook's Dream’ – the way in which its transformation into an ‘event’ required actors ‘to do their duty rather than what came from life’ – heightened Brook's sense that he could no longer work creatively under such conditions, and in 1970 he formed his Centre International de Recherche Théâtrale, which developed its early work for the Persepolis festivals and in the treks across Africa chronicled by John Heilpern in Conference of the Birds. Eventually the company settled in Paris at the Théâtre aux Bouffes du Nord in 1974: but while their work there has been widely acclaimed, it has been subjected to little detailed analysis in English. In the original series of TQ, Kenneth Tynan offered a highly critical view in TQ25. Here, David Williams – a graduate of the Drama Department of the University of Kent, currently working in community theatre at Hoxton Hall in London's East End – corrects the balance with a full descriptive analysis of Brook's major productions at the Bouffes – Timon of Athens. The Ik, a conflation of Jarry's Ubu plays, and a re-creation of the Conference of the Birds
20
Ruppo, Irina. "Exile, Pistols, and Promised Lands: Ibsen and Israeli Modernist Writers." Humanities 8, no. 3 (September 17, 2019): 151. http://dx.doi.org/10.3390/h8030151.
Full textAbstract:
Allusions to Henrik Ibsen’s plays in the works of two prominent Israeli modernist writers, Amos Oz’s autobiographical A Tale of Love and Darkness (2004) and David Grossman’s The Zigzag Kid (1994) examined in the context of the Israeli reception of Ibsen in the 1950s and 1960s. To establish the variety of meanings Ibsen’s plays had for the audiences of the Habimah production of Peer Gynt in 1952 and The Kameri production of Hedda Gabler in 1966, this article draws on newspaper reviews and actors’ memoirs, as well as providing an analysis of Leah Goldberg’s translation of Peer Gynt. It emerges that both authors enlisted Ibsen in their exploration of the myths surrounding the formation of Israeli nationhood and identity.
21
Andrews, Margaret W. "Private Practice, Public Payment: Canadian Medicine and the Politics of Health Insurance, 1911-1966. C. David Naylor." Isis 78, no. 2 (June 1987): 288–89. http://dx.doi.org/10.1086/354435.
Full text
22
Redondo Domínguez, Ernesto, and Joaquín Moya Sala. "Conversando con… Oriol Bohigas." EGA. Revista de expresión gráfica arquitectónica 20, no. 26 (October 27, 2015): 22. http://dx.doi.org/10.4995/ega.2015.4061.
Full textAbstract:
<p>De él destacamos su carácter polifacético y sus opiniones polémicas como buen activista cultural y político que ha sido. Su arquitectura, la de MBM, como a le gusta a él explicar es tranquila, realista, en ella sus constantes han sido el reconocimiento de la escala humana y urbana donde se inserta, la adecuación al lugar, la claridad estructural, los ritmos compositivos frecuentemente apoyados en partituras musicales y siempre, enemiga de la postmodernidad, de los gestos espectaculares o las propuestas rompedoras. Su labor como agitador y animador cultural en diversos momentos de la historia reciente también es destacable. Fundador del Grupo R, 1951, consejero del Fomento de las Artes Decorativas, FAD desde 1957, fundador de la revista Arquitecturas bis, 1973. Delegado de Urbanismo del Ayuntamiento de Barcelona 1980-1984, de la mano de Narcís Serra. Consejero urbanístico de Pascual Maragall, 1981. Redactor del proyecto de la Villa Olímpica Barcelona 92. Concejal de Cultura de Barcelona, 1991-1994. Impulsor del Museo de artes decorativas de Barcelona, 1995, precursor del actual Design Hub Barcelona, 2013, que también ha proyectado.</p><p>Como docente, ha sido profesor de la ETSAB desde 1964, Catedrático de Proyectos, ETSAB-UPC, desde 1971, expedientado por el Régimen y rehabilitado en 1977. Vuelve como director entre 1977 y1980, momento en el que removió toda su estructura y planes de estudios para adaptarla a los nuevos tiempos del postfranquismo. Es también Dr. Honoris causa por la UIMP 1995.</p><p>Como arquitecto es fundador del estudio de arquitectura MBM, junto a Joseph Martorell y David Mackay, 1962, con importantes obras tales como el grupo de viviendas Escorial, Barcelona, 1960, Viviendas en la Meridiana, 1965, Barcelona, la Escuela Garbí, Esplugas, 1962, los edificios de viviendas de las calles Escorial y Secretario Coloma, Barcelona, 1960, 1963, La escuela Thau, Barcelona, 1972, la casa en Canovelles, Granollers, 1977, la casa Escarré, Mallorca, 1985, El edificio Palau Nou, La Rambla, Barcelona, 1989, el parque de la Creueta de Coll, Barcelona, 1981, la plaza Mendebaldea, en Pamplona, 1986, la manzana Kleine Circus, Maastricht, 1994, la sede de RBA Editores, Barcelona 2013 El Design HUB Barcelona 2014, También es autor de diversos proyectos urbanísticos en Europa y Iberoamérica, tales como el barrio Sextius-Mirabeu, Aix-en-Provence, 1990, el nuevo puerto de Salerno, 1995, la Misión Perrache-Confluent, Lyon, 1997; el frente marítimo, Rio de Janeiro, 1997, el barrio Newham, Londres, 1999, profesor de la ETSAB desde 1964, Catedrático de Proyectos, ETSAB-UPC, desde 1971, expedientado por el Régimen y rehabilitado en 1977. Dr. Honoris causa por la UIMP 1995. Ha sido presidente de Edicions 62, 1975 y del consejo de dirección de la revista Lotus; comisario de exposiciones en la Bienal de Venecia, 1976, presidente de la Fundación Miró, 1981, directivo de la Fundació Tàpies. Ensayista y escritor ha sido colaborador habitual de diversos periódicos y revistas. (Serra d’Or, Destino, Avui, Cuadernos de Arquitectura y Urbanismo, Arquitecturas bis, Casabella, Quaderns, Croquis, La Vanguardia, el País). Entre sus textos de arquitectura y del urbanismo destacaríamos: Barcelona entre el Pla Cerdà i el Barraquisme, 1963, Arquitectura modernista 1968, Les escoles tècniques superiors i l’estructura professional 1968. Contra una arquitectura adjectivada, 1969. Arquitectura española de la Segunda República 1970. Polèmica d’arquitectura catalana, 1970. Proceso y erótica del diseño, 1972 y Once arquitectos. Reconstrucción de Barcelona, 1985. Además ha sido autor de diversos libros autobiográficos como Combat d’incerteses. Dietari de records, 1989; Entusiasmos compartidos y batallas sin cuartel; Dit o fet,1992 y El present des del futur, 1996, en los que recorre toda su extensa trayectoria vital, habiendo recibido múltiples distinciones internacionales tales como el Premio nacional de arquitectura. Gobierno de España 2006; Premio nacional de Cultura y Medalla de Oro de la Generalitat de Cataluña, 2011, 2013.</p>
23
Viana, Adriane Augusta. "A Queda da Casa de Usher, espacialidade gótica e a adaptação cinematográfica de Jess Franco." Tradterm 38 (February 23, 2021): 315–36. http://dx.doi.org/10.11606/issn.2317-9511.v38p315-336.
Full textAbstract:
Este artigo apresenta resultados parciais de uma pesquisa de mestrado em andamento, cujo objetivo consiste em analisar, à luz da questão da espacialidade gótica, a adaptação fílmica do conto A Queda da Casa de Usher de Edgar Allan Poe na versão cinematográfica de Neurosis – The Fall of the House of Usher (1987) do diretor espanhol Jess Franco. Como arcabouço teórico, utilizamos os estudos de Linda Hutcheon (2013) e Robert Stam (2006, 2009) em teoria da adaptação; Aparecido Donizete Rossi (2008), Fred Botting (2005) e David Punter (2012) quanto ao gótico e Gérard Genette (1982) e Julia Kristeva (2005 [1966]) em relação à intertextualidade, bem como a fortuna crítica da obra de Poe, do conto em questão e do filme aqui contemplado.
24
Woodward, Servanne. "A synthesis of personal and public history : 1990’s Achkar and Peck." Issue 1 1, no. 1 (June 12, 2018): 89–106. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a6.
Full textAbstract:
The 1991 films of David Achkar, a French-Guinean filmmaker, and Raoul Peck, a Haitian filmmaker whose family spent many years in the Congo, intersect around Patrice Lumumba (1925-1961), the first Congolese prime minister and victim of a political murder. Both films remain intensely personal if not intimate. Achkar is reminiscent of Beckett in the depiction of “waiting for” an occurrence ever differed. What is haunting about Achkar’s quest is that the filmmaker is in search of his father Marof David Achkar (1930-1971), a choreographer of the Keïta Fodeba “Ballets Africains” (1955-1960) and cultural counsellor to the Guinean embassy in Washington (1960-1964). Marof had replaced Telli Diallo at the United Nations (1964-1968) when he worked against apartheid in South Africa; in 1968 U. Thant (secretary to the United Nations) recommended him to a post of high commissioner to the World Organization in Namibia, a proposal rejected by Sékou Touré (elected as the first President of Guinea, serving from 1958 until his death in 1984) who recalled him to Conakry. Upon his return to Guinea, Marof Achkar was arrested and brought to camp Boiro, where he was tortured, made to sign charges of embezzlement and executed on January 25, 1971. At the time, David Achkar was a child — something of the child remains in the biography of his father. Beyond his father’s political ordeal is the first-hand demonstration of the personal impact the execution had on him; he connects more publicly and didactically with the administration of justice versus political murders in his last film, Kiti, justice en Guinée (1996). Both Achkar and Peck employ collages of family reels, documentaries, and film that may be inspired by Surrealism, a movement mentioned in Death of a Prophet (1991). Peck also moved toward a stronger Marxist message in his 2017 film about the German philosopher, and though he has done several documentaries, he is attached to the current relevance of legacies when he depicts Marx as appealing to today’s youth. In both 1991 films, the sliding distance of political heroes, from public careers to intimate family documents is further complicated by the filmmakers’ decision to intertwine plain autobiography to their biographies. They are working from the premises of affective encounters to create a sense of community. Eventually, Achkar and Peck raise issues about the philosophical nature of identity and the autobiography involved in the encounter with sacrificed or resurrected prophets as interpreted in Allah-Tantou—God’s Will be Done [À la grâce de Dieu] (1991) by David Achkar (1960-1998) and Death of a Prophet, by Raoul Peck (1954-present).
25
Gómez Lende, Sebastián. "Pesca marítima y acumulación por desposesión en Argentina (1966-2018): extranjerización del recurso, crisis socio-ambiental, precarización laboral y redistribuciones estatales." Entorno Geográfico, no. 18 (November 12, 2019): 98–127. http://dx.doi.org/10.25100/eg.v0i18.8657.
Full textAbstract:
Para el marxismo clásico, la llamada acumulación originaria o primitiva se limitó a moldear la prehistoria del sistema capitalista. Sin embargo, y dado que ese proceso continuó operando sin interrupción, el geógrafo inglés David Harvey propone redefinirlo en términos de “acumulación por desposesión”. Sobre la base de bibliografía especializada, fuentes oficiales, investigaciones independientes e información periodística, este artículo busca tender puentes entre lo teórico y lo empírico estudiando la compleja relación entre acumulación por desposesión y pesca marítima en Argentina durante el período 1966-2018. Para ello, se recurre a cuatro categorías de análisis propuestas por dicho autor: cercamiento, privatización y apropiación neocolonial imperial de recursos naturales; despojo ecológico y producción de crisis; precarización laboral y trabajo esclavo; y redistribuciones estatales. Los resultados muestran claramente que, al menos en el caso argentino, la pesca marítima debe ser considerada e interpretada como una modalidad de acumulación por derecho propio.
26
Andrew, A. M. "Turing's Man: Western Culture in The Computer Age by J. David Bolter Pelican Books, Harmondsworth, 1966, xvi + 264 pp. (£3.95)." Robotica 5, no. 1 (January 1987): 77–78. http://dx.doi.org/10.1017/s0263574700009681.
Full text
27
Dudija, Nidya. "Cooperative vs Competitive: Filosofi Keseimbangan “Yin-Yang” dalam Hubungan Interdependency." Buletin Psikologi 23, no. 2 (December 1, 2015): 65. http://dx.doi.org/10.22146/bpsi.10563.
Full textAbstract:
Teori ini 1 dikembangkan oleh Morton Deutsch (1949a, 1949b, 1973, 1985) danjuga diuraikan oleh David W. Johnson (Johnson & Johnson, 1989). Cooperative–Competitive merupakan salah satu teori dalam psikologi sosial yang dikemukakanoleh Morton Deutch. Ilmuan evolusi sosial mengatakan bahwa altruisme manusia dan kerjasama adalah hasil dari sejarah spesies yang unik “konflik antar kelompok dan perang” (Alexander, 1987; Buss, 1999; Campbell, 1975; Tooby & Cosmides, 1988), dapat diartikan bahwa konflik antar kelompok telah membentuk psikologi dan perilaku manusia khususnya (Vugt, Gremer, & Janssen 2007). Penelitian psikologi sosial konsisten dengan ide ini. Dalam hal ini manusia spontan membuat perbandingan “kita vs mereka” kategorisasi dan cepat mengembangkan aspek emosional dalam kelompok bahkan ketika keanggotaan didasarkan pada kriteria yang sederhana, seperti flip koin (Brewer, 1979; Ostrom & Sedikides, 1992; Tajfel & Turner, 1979). Manusia juga mudah melakukan tindakan diskriminasi terhadap anggota dari luar kelompok (Fiske, 2002) dan terlibat dalam tindakanaltruistik untuk membela kelompok mereka (De Cremer & Van Vugt, 1999;Sherif , 1966).
28
Esling, John H. "In Memoriam: Jimmy G. Harris (1930–2012)." Journal of the International Phonetic Association 43, no. 1 (April 2013): 126. http://dx.doi.org/10.1017/s0025100312000412.
Full textAbstract:
Jimmy Gene Harris died in Seattle on 30 September 2012, at the age of 82. He led a remarkable life. He was a soldier of fortune, a champion for human rights, an exacting phonetic fieldworker, an observer of human nature, a teller of stories, a teacher and a mentor. Raised in the Arkansas Ozarks, he began his international adventures as a US Marine Corps sergeant in the Korean War. He pursued his linguistic education in Mexico City and at the University of Washington, with an MA in 1966 specializing in Japanese and Asian Studies, while also carrying out fundamental language revitalization fieldwork with the Stó:lō Nation (Salish) in the Fraser River Valley of BC. In 1973, he obtained an MEd from the University of Southern California. On leave from his duties in the field from 1976 to 1978, he spent time refining his phonetic knowledge with David Abercrombie in Edinburgh and with Eugénie Henderson in London.
29
Drott, Eric. "Ligeti in Fluxus." Journal of Musicology 21, no. 2 (2004): 201–40. http://dx.doi.org/10.1525/jm.2004.21.2.201.
Full textAbstract:
During a brief period in the early 1960s, Fluxus, a neo-avant-garde group active in the United States, Europe, and Japan, engaged the unlikely participation of Gyorgy Ligeti. Ligeti's three contributions to Fluxus publications-the Trois Bagatelles for David Tudor (1961), Die Zukunft der Musik-eine kollektive Komposition (1961), and Poèème Symphonique for 100 metronomes (1962)-proved both compatible with and divergent from the general ideology and aesthetic of Fluxus. Central to the consideration of Ligeti's Fluxus pieces is the contentious relationship that existed between experimental and modernist branches of new music at the time. Ligeti's flirtation with more experimental forms of composition not only reflects the general dynamic of this relationship but also illuminates how Ligeti positioned himself within the field of European contemporary music ca. 1960 and in subsequent years.
30
English, John. "Private Practice, Public Payment: Canadian Medicine and the Politics of Health Insurance, 1911-1966 C. David NaylorPrivate Practice, Public Payment: Canadian Medicine and the Politics of Health Insurance, 1911-1966 C. David Naylor Kingston and Montreal: McGill-Queen's University Press, 1986, 324 p., pb. $19.95 (Can.)." Canadian Bulletin of Medical History 4, no. 1 (April 1987): 77–78. http://dx.doi.org/10.3138/cbmh.4.1.77.
Full text
31
LAXTON, PAUL. "E.P. Hennock 1926–2012: an appreciation." Urban History 40, no. 4 (September 27, 2013): 726–29. http://dx.doi.org/10.1017/s0963926813000643.
Full textAbstract:
Of the British scholars gathered by H.J. Dyos in 1966 to give substance to his vision of urban history as a distinctive genre of history only a few would claim the study of cities and city life as their prime academic interest. No more than a handful of those involved in the Urban History Group in the mid-1960s went on to publish major work in urban history. That was left to the generation whose careers were established in the early 1970s. The handful included Jim Dyos himself, Tony Sutcliffe, David Reeder, John Kellett and Peter Hennock. For the latter part of his career Hennock concentrated on the history of the welfare state and social policy in Britain and Germany and that is what those historians familiar with his name will associate him with. But his first book, based partly on his doctoral research, Fit and Proper Persons: Ideal and Reality in Nineteenth-Century Urban Government (1973) was as squarely a work of municipal history as one could find, and if a test of a contribution to history is not the quantity of publications but what endures of them, then Ernest Peter Hennock more than justifies our recognition amongst historians of towns and cities.
32
Matthews, Brian. "Protein Crystallography: Getting in on the Ground Floor." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C931. http://dx.doi.org/10.1107/s2053273314090688.
Full textAbstract:
The first diffraction pattern from crystals of a protein was obtained by Desmond Bernal and Dorothy Crowfoot Hodgkin in 1934. As early as 1939, Bernal described how such diffraction patterns might be used to determine the complete three-dimensional structure of a protein. It was not until 1954, however, that Max Perutz showed how isomorphous replacement could be used to determine the phases for crystalline hemoglobin. Using this approach, Kendrew and coworkers described the three-dimensional structure of myoglobin in 1960. In 1965, David Phillips' group determined the structure of hen egg-white lysozyme. Then, in 1967, three different protein crystal structures were reported. Macromolecular crystallography had come of age. The talk will touch on some of these early events and include reminiscences of work at the MRC Lab in David Blow's group leading up to the successful determination of the alpha-chymotrypsin structure.
33
Ponganis, P. J., and T. K. Stockard. "Short Note: The Antarctic toothfish: how common a prey for Weddell seals?" Antarctic Science 19, no. 4 (October 1, 2007): 441–42. http://dx.doi.org/10.1017/s0954102007000715.
Full textAbstract:
The Antarctic toothfish (Dissostichus mawsoni Norman) has been considered an occasional large prey item of the Weddell seal (Leptonychotes weddellii Lesson) (Kooyman 1967, Calhaem & Christoffel 1969, Testa et al. 1985, Castellini et al. 1992, Davis et al. 1999, Fuiman et al. 2002). The seal's most common prey is the Antarctic silverfish (Pleuragramma antarcticum Boulenger) as well as benthic and sub-ice fish, cephalopods, and crustaceans (Dearborn 1965, Green & Burton 1987, Plotz 1987, Plotz et al. 1991, Castellini et al. 1992, Burns et al. 1998).
34
Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (September 13, 2012): 54–74. http://dx.doi.org/10.7202/1013161ar.
Full textAbstract:
This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
35
Parikh, Sameer A., Paolo Strati, Mazie Tsang, Colin P. West, and Tait D. Shanafelt. "Should IGHV status and FISH testing be performed in all CLL patients at diagnosis? A systematic review and meta-analysis." Blood 127, no. 14 (April 7, 2016): 1752–60. http://dx.doi.org/10.1182/blood-2015-10-620864.
Full textAbstract:
Abstract Since the first description of the natural history of chronic lymphocytic leukemia (CLL) by David Galton in 1966, the considerable heterogeneity in the disease course has been well recognized. The Rai and Binet staging systems described ∼40 years ago have proven to be robust prognostic tools. Over the past 2 decades, several novel biological, genetic, and molecular markers have been shown to be useful adjuncts to the Rai and Binet staging systems. In this systematic review, we examined the role of immunoglobulin heavy-chain variable region gene (IGHV) mutation status and genetic abnormalities determined by interphase fluorescence in situ hybridization (FISH) in patients with newly diagnosed CLL. The cumulative evidence presented in this systematic review is sufficient to recommend that FISH and IGHV be performed as standard clinical tests for all patients with newly diagnosed CLL in those countries with the resources to do so. In addition to clinical stage, these parameters could represent the minimal standard initial prognostic evaluation for patients with CLL. This approach will allow the application of powerful, recently developed prognostic indices (all of which are dependent on IGHV and FISH results) to all patients with newly diagnosed CLL.
36
Rand, Thomas G. "Light and scanning electron microscopic studies on Trichodina labrisomi n.sp. from Labrisomas nuchipinnis (Osteichthyes: Labrisomidae) from Mangrove Lake, Bermuda." Canadian Journal of Zoology 71, no. 9 (September 1, 1993): 1855–60. http://dx.doi.org/10.1139/z93-264.
Full textAbstract:
Trichodina labrisomi n.sp. from the gills of the hairy blenny, Labrisomas nuchipinnis (Quoy and Gaimard), in Mangrove Lake, Bermuda, is described using light microscopy and scanning electron microscopy (SEM). Light microscopy reveals that the dimensions and morphology of T. labrisomi are similar to those given for only 13 previously described species of Trichodina (T. acuta Lom, 1961; T. baicalensis Dogiel, 1957; T. cottomephori Stein, 1979; T. dalli Zhukov, 1964; Trichodina domerguei domerguei Lom and Shtein 1966; T. elegans Stein, 1979; T. fultoni Davis, 1947; T. jadranica Haider, 1964; T. jadranica noblei Lom, 1970; T. partidisci Haider, 1964; T. reticulata Hirschmann et Partsch, 1955; T. tenuidens Faure-Fremiet, 1943; and T. tenuiformis Stein, 1979). However, compared with these similar forms, T. labrisomi n.sp. is distinguished by the dimensions of its body and denticulate ring and (or) the appearance of its silver-impregnated adhesive disc and denticles. Features of T. labrisomi examined by SEM include the body shape, pellicle, aboral pellicular pores, border membrane, aboral ciliary complex, and adoral ciliature, which are described and compared with those of other trichodinids studied using SEM. SEM also revealed that bacilli were distributed circumequatorially over the oral surface of T. labrisomi.
37
Assaf, Matheus, and Pedro Garcia Duarte. "Utility Matters." History of Political Economy 52, no. 5 (October 1, 2020): 863–94. http://dx.doi.org/10.1215/00182702-8671855.
Full textAbstract:
The present-day standard textbook narrative on the history of growth theory usually takes Robert Solow’s 1956 contribution as a key starting point, which was extended by David Cass and Tjalling Koopmans in 1965 by introducing an intertemporal maximization problem that defines the saving ratio in the economy. However, the road connecting Solow to the Ramsey-Cass-Koopmans model is not so straightforward. We argue that in order to understand Koopmans’s contribution, we have to go to the activity analysis literature that started before Solow 1956 and never had him as a central reference. We stress the role played by Edmond Malinvaud, with whom Koopmans interacted closely, and take his travel from the French milieu of mathematical economics to the Cowles Commission in 1950-51 and back to France as a guiding line. The rise of turnpike theory in the end of the 1950s generated a debate on the choice criteria of growth programs, opposing the productive efficiency typical of these models to the utilitarian approach supported by Malinvaud and Koopmans. The Vatican Conference of 1963, where Koopmans presented a first version of his 1965 model, was embedded in this debate. We argue that Malinvaud’s (and Koopmans’s) contributions were crucial to steer the activity analysis literature toward a utilitarian analysis of growth paths.
38
Warren, Jean-Phillippe. "Jean-Pierre Boyer, Jean Desjardins et David Widgington (dir.), Pour changer le monde. Affiches des mouvements sociaux au Québec, 1966-2007, Montréal, Lux, 2007." Bulletin d'histoire politique 17, no. 1 (2008): 393. http://dx.doi.org/10.7202/1056071ar.
Full text
39
Quiles, Daniel R. "My Reference Is Prejudiced: David Lamelas's Publication." ARTMargins 2, no. 3 (October 2013): 31–62. http://dx.doi.org/10.1162/artm_a_00060.
Full textAbstract:
This article addresses David Lamelas's 1970 work Publication, arguing that it represents a subtle critique of the internationalization of conceptual art by a recent entrant into the West European milieu. Exhibited at Nigel Greenwood Gallery in London after the artist's 1968 relocation from Argentina, Publication consists of thirteen written responses to three statements about the possible use of “language as an Art Form” that were sent by Lamelas to international figures in conceptual art such Daniel Buren, Gilbert and George, Lucy Lippard, and Lawrence Wiener. A close reading of this and others of Lamelas's experiments works leading up to this moment reveals affinities with earlier artistic experiments in Buenos Aires, the artist's original context, that have anything but membership in a preexisting movement or the adoption of an established genre as their goal. Between the years 1965 and 1968, Lamelas was part of a group of artists associated with the Torcuato di Tella Institute and the writer Oscar Masotta, who advocated an analytical and antagonistic “dematerialization,” in which prevailing tendencies were to be systematically examined, voided from within, and superseded. In Buenos Aires, Lamelas experimented with breaking his works into sections as a way of calling attention to given objects of attention—a practice of “signaling” that is also present in Publication. Invariably, these works were positioned in critical relationship to those of his peers, applying Masotta's model to each new milieu. In what follows, I compare select works of Lamelas with his contemporaries in Buenos Aires and abroad between 1964 and 1970, contending that Publication represents one of the first appearances of a specifically Argentine, and highly critical, mode of conceptualism in the international art field.
40
Partearroyo, Manuela. "The beauty in the beast and the beast in the beauty. The voyeur’s view." Escritura e Imagen 16 (December 16, 2020): 57–69. http://dx.doi.org/10.5209/esim.73025.
Full textAbstract:
This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, part of the freak show, morbid viewer of the abject. Lynch and Antonioni, together with Shelley’s creature and creator, put the question of the body through a microscope and dare us spectators to look inside, to find the morbidity of truth and the limits of art.
41
Amer, Ramses. "A History of Cambodia. Second Edition, Updated. By David P. Chandler. Boulder and London: Westview Press, 1966. Pp. xvi, 288. Preface, Notes, Bibliographic Essay, Index." Journal of Southeast Asian Studies 28, no. 1 (March 1997): 185–86. http://dx.doi.org/10.1017/s0022463400015319.
Full text
42
Oberschall, A. "Violent Land: Single Men and Social Disorder from the Frontier to the Inner City. By David T. Courtwright. Harvard University Press, 1966. 357pp. Cloth $29.95." Social Forces 75, no. 4 (June 1, 1997): 1474–76. http://dx.doi.org/10.1093/sf/75.4.1474.
Full text
43
Rose, Roger P. "The APSA Congressional Fellowship: Value for Faculty from Teaching Colleges and Universities." PS: Political Science & Politics 41, no. 03 (June 18, 2008): 670–72. http://dx.doi.org/10.1017/s1049096508350938.
Full textAbstract:
During its 55-year history, the APSA Congressional Fellowship Program (CFP) has influenced much of the best work written about Congress. Top congressional and legislative scholars like David Mayhew, Alan Rosenthal, David Rohde, Lawrence Dodd, and Barbara Sinclair, to name just a few, were strongly influenced by their experience as legislative fellows on Capitol Hill. To cite the most prominent example, David Mayhew remarked that his fellowship year was integral to his writing ofCongress: the Electoral Connection: “Absent my experience as an APSA Congressional Fellow in 1967–1968, there is not the slightest chance I would have conceived or writtenThe Electoral Connection” (quoted in Biggs 2003, 143).
44
Greenberg, Gershon. "Marc B. Shapiro. Between the Yeshiva World and Modern Orthodoxy: The Life and Works of Rabbi Jehiel Jacob Weinberg, 1884–1966. London: Littman Library of Jewish Civilization, 1999. 283 pp." AJS Review 29, no. 1 (April 2005): 175–77. http://dx.doi.org/10.1017/s0364009405290098.
Full textAbstract:
Jehiel Jacob Weinberg was, and remains, one of the outstanding figures of Modern Orthodoxy, along with David Zvi Hoffmann, Isaac Herzog, and Joseph B. Soloveitchik. Shapiro's exemplary biography marks the onset of a new stage in biographical scholarship about leading Orthodox personalities, moving beyond the hagiographies (which brought the figures to attention while affirming the Orthodox community) and the pioneer studies of Aharon Sorasky and Aharon Rakeffet-Rothkoff, and is a mandate for Judaic scholars to study the other greats (including the Hofets Hayim, Hayim Hirschensohn, Meir Shapiro of Lublin, Nathan Birnbaum, Hayim Ozer Grodzensky and Jakob Rosenheim). This book tells us what it takes to be a pathfinder in the world of twentieth-century Orthodox Judaism: the courage to carry a Hegelian-like dialectic about religious options to conclusion in a world of societal turmoil and historical trauma. As Weinberg moved from Slobodka to Pilwishki (Lithuania), to Giessen, Berlin, and then through the Warsaw ghetto, detention camp in Wülzburg, and finally to Montreux, he existentialized the struggle between the isolated talmudic culture of Eastern Europe and the Talmud cum secular culture of the West and its synthetic conclusion.
45
Carreri, Roberta. "The Actor's Journey: ‘Judith’ from Training to Performance." New Theatre Quarterly 7, no. 26 (May 1991): 137–46. http://dx.doi.org/10.1017/s0266464x00005418.
Full textAbstract:
New Theatre Quarterly has provided extensive coverage of the work of Odin Teatret, based since 1966 at Holstebro in Denmark, as also of the approach and ideas of its director, Eugenio Barba, who first wrote for us on ‘The Nature of Dramaturgy’ in NTQ1 (1985). Most recently, we documented Odin's twelfth production, Talabot, through David Shoemaker's analysis in NTQ24 (1990). Here, we offer an actor's experience of the creation of a one-person production – uniting personal circumstances, experiences in training, and exploratory research in the process which led towards the creation of Judith, based on the apocryphal story of the woman who seduced an enemy general in order to murder him. Its performer, Roberta Carreri, joined Odin Teatret in 1974, since when she has also performed in The Book of Dance (1974–80), Come! and the Day Will Be Ours (1976–80), Anabasis (1977–84), The Million (1978–84), Brecht's Ashes (1980–84), and The Gospel According to Oxyrhincus (1985–87). Her evocation here of the process which led to the creation of Judith is based on an interview with Exe Christoffersen, who also provides a detailed scenario of the production in performance. This feature forms part of Exe Christoffersen's Skuespillerens Vandring, published in Denmark by Klim in 1989. It has been excerpted and translated for NTQ by Gordi Roberts.
46
Weitz, Yechiam. "Reshaping the Political Order in Israel, 1965–1967." Israel Studies Review 33, no. 3 (December 1, 2018): 43–60. http://dx.doi.org/10.3167/isr.2018.330304.
Full textAbstract:
This article examines the major changes in the Israeli political arena, on both the left and right, in the two years before the 1967 War. The shift was marked by the establishment in 1965 of the right-wing Gahal (the Herut-Liberal bloc) and of the Labor Alignment, the semi-merger of Israel’s two main left-wing parties, Mapai and Ahdut HaAvodah. Some dissatisfied Mapai members broke away from the Alignment and formed a new party, Rafi, under the leadership of David Ben-Gurion. They did not gain nearly enough Knesset seats to take power in the November 1965 election, but Rafi did become part of the emergency national unity government that was formed in June 1967, due largely to the weak position of Levi Eshkol as prime minister. This enabled Rafi’s Moshe Dayan to assume the minister of defense position on the eve of the Six-Day War, which began on 5 June 1967.
47
Galli, Pier Francesco, and David Rapaport. "Tracce." PSICOTERAPIA E SCIENZE UMANE, no. 1 (February 2012): 87–104. http://dx.doi.org/10.3280/pu2012-001004.
Full textAbstract:
(Pag. 90) - In questo intervento, letto a una tavola rotonda presieduta da Samuel J. Beck nel 1947, David Rapaport (1911-1960) discute i problemi che la psicologia clinica deve affrontare per diventare una scienza, in particolare negli Stati Uniti nel dopoguerra, un periodo storico caratterizzato da un boom economico e da una crescente richiesta di prestazioni psicologiche e psichiatriche. Vengono discussi sia il settore della testistica psicologica sia il settore della psicoterapia. (Questo articolo è stato originariamente pubblicato sull'American Journal of Orthopsychiatry, 1948, 18, 3: 493-497, e ripubblicato nei Collected Papers of David Rapaport curati da Merton M. Gill [New York: Basic Books, 1967, cap. 24, pp. 299-303]; è tradotto qui in italiano per la prima volta).(pag. 94) Vengono pubblicate per la prima volta, precedute da una nota introduttiva di Robert R. Holt, due lettere inedite di David Rapaport (1911-1960) a Holt del dicembre 1951. Rapaport racconta all'amico e collaboratore Holt alcune vicissitudini e difficoltà del suo inserimento professionale negli Stati Uniti dopo l'emigrazione dall'Ungheria.
48
Redshaw, Thomas Dillon. "‘The Dolmen Poets’: Liam Miller and Poetry Publishing in Ireland, 1951–1961." Irish University Review 42, no. 1 (May 2012): 141–54. http://dx.doi.org/10.3366/iur.2012.0013.
Full textAbstract:
With the publication of The Dolmen Miscellany (1962) and the inception of Poetry Ireland the same year, Liam Miller's Dolmen Press came to represent artistically and commercially Irish poets and their works within the Republic of Ireland and abroad. In Miller's publishing practice, the liberal notion of ‘Poetry Ireland’ had come to supplant a narrower one: the idea of the ‘Dolmen Poets.’ As the nineteen fifties drew to a close, the Dolmen Poets were Padraic Colum and Austin Clarke (but not Patrick Kavanagh), Richard Murphy, John Montague, and especially Thomas Kinsella. In Dolmen's earliest years, however, the notion of the ‘Dolmen Poets’ had entailed other figures – David Marcus, Donald Davie, Valentin Iremonger – as well as a “group” editorial method and small, economical print format suited to Dolmen's elementary technical facilities. When, in the ‘Dolmen Poets” format Miller printed the programme for the famous, three-way reading by Murphy, Montague, and Kinsella at the Royal Hibernian Hotel on 3 February 1961, both the occasion and the souvenir programme signalled Miller's embracing of the concept of ‘Poetry Ireland’.
49
Balogh-Nair, Valeria. "Macrocyclic Synthesis: A Practical Approach Edited by David Parker (University of Durham). Oxford University Press: New York, 1966. xii + 252 pp. $90.00. ISBN 0-19-855841-4." Journal of the American Chemical Society 119, no. 48 (December 1997): 11721. http://dx.doi.org/10.1021/ja965735b.
Full text
50
Waduipí Sipré, Eliseu, and Andérbio Márcio Martins. "Nominalizaçôes em A’uwẽ (Xavante), com foco especial no nominalizador de nome de açâo." Revista Brasileira de Linguística Antropológica 11, no. 02 (December 29, 2019): 16. http://dx.doi.org/10.26512/rbla.v11i02.28456.
Full textAbstract:
O artigo versa sobre nominalizações na língua A’uwẽ (Xavante), língua do ramo Central da família Jê, tronco Macro-Jê (Rodrigues 1986, 1996,; Davis 1966, 1968; Gudschinsky 1971). O objetivo central do presente artigo é demonstrar a importância das nominalizações de nome de ação na gramática A’uwẽ. Descrevemos os alomorfes do nominalizador de “nome de ação, a nominalização por esse morfema como antecedente a outros processos derivacionais e os contextos morfossintáticos em que é requerida.