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1
Bréban, Laurie, and Muriel Gilardone. "A missing touch of Adam Smith in Amartya Sen’s account of public reasoning: the man within for the man without." Cambridge Journal of Economics 44, no. 2 (February 3, 2020): 257–83. http://dx.doi.org/10.1093/cje/bez065.
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Abstract Sen claims that his 2009 theory of justice is based in part upon Smith’s idea of the ‘impartial spectator’. His claim has received criticism: some authors have responded that his interpretation of Smith’s concept is unfaithful to the original; others, focussing on internal features of Sen’s analysis, critique his use of the Smithian impartial spectator, arguing that it is a weak point in his comparative theory of justice. In this paper, we address both sets of criticisms. While agreeing with commentators that Sen’s reading of Smith is somewhat unfaithful, we reiterate that his aim in The Idea of Justice is not to provide an exegesis of Smith but rather to build his own comparative theory of justice by ‘extending Adam Smith’s idea of the impartial spectator’ (IJ: 134) to his own project. After clarifying their distinct approaches to the concept of the impartial spectator, we draw upon our account of these differences to evaluate Sen’s own use of the concept. Despite significant divergences, we show that Sen’s version of the impartial spectator is not inconsistent with Smith’s analysis. Though it does not correspond to Smith’s concept, that is to what the Scottish philosopher sometimes calls the ‘man within’, it is reminiscent of another figure from Smith’s moral philosophy: the ‘man without’. Beyond this analogy, there are further connections between Smith’s imaginary figure of the ‘man within’ and Sen’s account of ‘common beliefs’—both notions are ways of representing our beliefs regarding what is moral or just. But whereas Smith’s moral philosophy offers an analysis of the process by which the ‘man without’ influences the ‘man within’, nothing of that kind is to be found in Sen’s conception of public reasoning. And it is here that Smith’s famous concept of ‘sympathy’ can supplement Sen’s theory, in a way that furnishes an answer to Shapiro’s (2011) criticism regarding the possibility of spontaneous change of beliefs towards greater impartiality.
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Koronios, Konstantinos, Antonios Travlos, John Douvis, and Andreas Papadopoulos. "Sport, media and actual consumption behavior: an examination of spectator motives and constraints for sport media consumption." EuroMed Journal of Business 15, no. 2 (May 11, 2020): 151–66. http://dx.doi.org/10.1108/emjb-10-2019-0130.
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PurposeThe present study is an initial attempt to assess the impact of motivators and constraints on individual's intention for sport media consumption. The advancement of sport media consumption has been underlined by the academic literature during the past few years. In fact, one of the most conspicuous concerns that experts in the sport industry face nowadays is the fans' preference to stay home and watch sport events. The objective of this research is to determine the impact of motivations and constraints for individuals' sport media consumption intentions.Design/methodology/approachA quantitative method was used for the purpose of this study, and a sum of 1,704 fulfilled questionnaires were obtained and analyzed by means of SPSS and AMOSFindingsAccording to the results, internal and external motivators such as attachment to team, achievement, social, drama, role model and promotion observed to have a considerable impact on participants' consumption intention. Moreover, results pointed out a significant impact of structural and intrapersonal constraints on consumption intention.Originality/valueThe aim of the present research was to analyze the link between the constraints of spectator purposes and actual media consumption. In addition, there is an examination of generation-based factors among the spectators within the scope of possible contrasting aspects, a variable which has not been examined in any previous studies until now.
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Crossman, Jane E. "Age of Spectators as a Factor Influencing Behavior at Minor League Hockey and Baseball Games." Perceptual and Motor Skills 62, no. 2 (April 1986): 639–48. http://dx.doi.org/10.2466/pms.1986.62.2.639.
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To assess the behavior of 10 age groups of spectators while viewing children's minor league hockey and baseball games the behavior of 272 (males = 142, females = 130) randomly selected hockey spectators and 90 (male = 46, female = 44) randomly selected baseball spectators was assessed on the Spectator Observation Code. The predominant behavior emitted during each 10-sec. observation interval was recorded. During each session, three subjects were observed in serial order for the duration of the hockey or baseball game. Data were analyzed by one-way analysis of variance and Newman-Keuls comparison tests. Significant differences existed for some spectator behaviors when the age of spectator varied.
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Kim, Yu Kyoum, and Galen Trail. "Constraints and Motivators: A New Model to Explain Sport Consumer Behavior." Journal of Sport Management 24, no. 2 (March 2010): 190–210. http://dx.doi.org/10.1123/jsm.24.2.190.
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This study focused on developing a model to explain relationships among constraints, motivators, and attendance, and empirically test the proposed model within the spectator sport context. The proposed model explained 34% of variance in Attendance. Results showed that Attachment to the Team, an internal motivator, entered first and explained approximately 21% of the variance in attendance. Lack of Success, an internal constraint, entered next and explained almost 10% additional variance. Leisure Alternatives, an external constraint entered next and explained an additional 3%. The ability to properly evaluate constraints and motivators gives sport marketers the opportunity to more effectively serve existing fans, as well as attract new fans.
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Kilci, Alp Kaan, and Serhat Yalçıner. "Scale for Esports Spectator Demands: Adaptation to Turkish, validity and reliability study." Journal of Human Sciences 17, no. 4 (December 12, 2020): 1106–22. http://dx.doi.org/10.14687/jhs.v17i4.6087.
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The purpose of this study was to adapt to Turkish and to determine the validity and reliability of the Scale for Esports Spectator Demand (SESD), which was developed to determine the demands of the viewers who follow the esports broadcasts by Qian, Zhang, Wang and Hulland (2020). After the Turkish form equivalence test, the scale was applied to viewers who following esports broadcasts on the online broadcast network "Twitch". A total of 495 volunteers (21.43 ± 3.50), 423 men (21.71 ± 3.51), and 72 women (19.75 ± 2.95), aged between 18-32, participated in the online study. Exploratory (EFA) and confirmatory factor analysis (CFA) was performed on the data obtained. A total of 7 factors were determined with EFA, respectively, 4 overlapping items (21-11-18-29), 2 items that make up a single factor (19-20) and the 30th item that disrupted the meaning integrity of the factor to which it belongs were removed from the scale. It was seen that the model consisting of the remaining 25 items and 6 dimensions explained 67.278% variance and the 6-factor model had an acceptable fit as a result of CFA. (χ2/df=2,622; GFI=,896; AGFI=,892; CFI=,918; NFI=,902; RMR=,064; RMSEA=,071). It was determined that the internal consistency coefficients of the scale on the basis of sub-dimensions ranged between .755 and .863, and the overall internal consistency coefficient was α = .924 As a result, it was determined that the Scale for Esports Spectator Demand (SESD), adapted to Turkish, can be used as a valid and reliable measurement tool to determine the demands of esports spectator.
Extended English summary is in the end of Full Text PDF (TURKISH) file.
Özet
Bu çalışma’nın amacı, Qian, Zhang, Wang ve Hulland (2020) tarafından espor yayınlarını takip eden izleyicilerin yayından taleplerini belirlemek amacıyla geliştirilmiş olan Scale for Esports Spectator Demand (SESD)’in Türkçe’ye uyarlanması, geçerlik ve güvenirliği’nin belirlenmesidir. Ölçek, Türkçe form eş-değerlik sınamasının ardından Türkiye genelinde çevrimiçi yayın ağı “Twitch” üzerinden espor yayınlarını takip eden izleyicilere uygulanmıştır. Çevrimiçi ortamda gerçekleştirilen çalışmaya yaşları 18-32 arasında değişen 423 erkek (21,71±3,51) ve 72 kadın (19,75±2,95) olmak üzere toplam 495 gönüllü birey (21,43±3,50 katılmıştır. Elde edilen veriler üzerinde açımlayıcı (AFA) ve doğrulayıcı faktör analizi (DFA) gerçekleştirilmiştir. AFA ile toplam 7 faktör belirlenmiş, sırasıyla binişik olan 4 madde (21-11-18-29), tek bir faktörü oluşturan 2 madde (19-20) ve ait olduğu faktördeki anlam bütünlüğünü bozan 30. madde ölçekten çıkarılmıştır. Kalan 25 madde ve 6 boyuttan oluşan modelin %67,278 varyansı açıkladığı ve DFA sonucunda 6 faktörlü modelin kabul edilebilir bir uyuma sahip olduğu görülmüştür (χ2/df=2,622; GFI=,896; AGFI=,892; CFI=,918; NFI=,902; RMR=,064; RMSEA=,071). Ölçeğin alt boyutlar bazında iç tutarlılık katsayılarının ,755 ile ,863 arasında değiştiği, genel iç tutarlılık katsayısının ise α= ,924 olduğu tespit edilmiştir. Sonuç olarak, Türkçe’ye uyarlama çalışması yapılmış olan Espor İzleyici Talepleri Ölçeği (ESİTÖ)’nün espor izleyicilerinin taleplerini belirlemek için geçerli ve güvenilir bir ölçüm aracı olarak kullanılabileceği belirlenmiştir.
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Soszka, Emilia, Marcin Jędrzejczyk, Ireneusz Kocemba, Nicolas Keller, and Agnieszka Ruppert. "Ni-Pd/γ-Al2O3 Catalysts in the Hydrogenation of Levulinic Acid and Hydroxymethylfurfural towards Value Added Chemicals." Catalysts 10, no. 9 (September 7, 2020): 1026. http://dx.doi.org/10.3390/catal10091026.
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γ-Al2O3 supported Ni-Pd catalysts with different Ni:Pd ratios were studied in the hydrogenation of two industrially-relevant platform molecules derived from biomass, namely levulinic acid and hydroxymethylfurfural. The bimetallic catalysts showed better performances in both processes in comparison to the monometallic counterparts, for which a too strong interaction with the alumina support reduced the activity. The behavior of the bimetallic catalysts was dependent on the Ni:Pd ratio, and interestingly also on the targeted hydrogenation reaction. The Pd-modified Ni-rich system behaves like pure Ni catalyst, but with a strongly boosted activity due to a higher number of Ni active sites available, Pd being considered as a spectator. This high activity was manifested in the levulinic acid hydrogenation with formic acid used as an internal hydrogen source. This behavior differs from the case of the Pd-rich system modified by Ni, which displayed a much higher Pd dispersion on the support compared to the monometallic Pd catalyst. The higher availability of the Pd active sites while maintaining a high surface acidity allows the catalyst to push the HMF hydrodeoxygenation reaction forward towards the green biopolymer precursor 2,5-bis(hydroxymethyl)-tetrahydrofuran, and in consequence to strongly modify the selectivity of the reaction. In that case, residual chlorine was proposed to play a significant role, while Ni was considered as a spectator.
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Falkner, Thomas M. "Containing Tragedy: Rhetoric and Self-Representation in Sophocles' "Philoctetes"." Classical Antiquity 17, no. 1 (April 1, 1998): 25–58. http://dx.doi.org/10.2307/25011073.
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This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias on theatrical deception (ἀπάτη). The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice.
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Frykholm, Erin. "Hume, Mandeville, Butler, and “that Vulgar Dispute”." Archiv für Geschichte der Philosophie 101, no. 2 (June 28, 2019): 280–309. http://dx.doi.org/10.1515/agph-2019-2004.
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Abstract The debate over whether human motivations are fundamentally selfinterested or benevolent consumed Shaftesbury, Mandeville, and Hutcheson, but Hume – though explicitly indebted to all three – almost entirely ignores this issue. I argue that his relative silence reveals an overlooked intellectual debt to Bishop Butler that informs two distinguishing features of Hume’s view: first, it allows him to appropriate compelling empirical observations that Mandeville makes about virtue and moral approval; second, it provides a way of articulating a fundamental criticism of Shaftesbury and Hutcheson on the issue of virtuous motivation. From this position, Hume is able to reframe the question of virtue according to the approbation of the spectator, rather than the internal aims of the agent.
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Bilger, R., W. Brodowski, H. Calén, H. Clement, V. Dunin, J. Dyring, C. Ekström, et al. "Spectator tagging in quasi-free proton–neutron interactions in deuterium using an internal cluster-jet target at a storage ring." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 457, no. 1-2 (January 2001): 64–74. http://dx.doi.org/10.1016/s0168-9002(00)00672-0.
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Feldherr, Andrew. "Ships of State: "Aeneid" 5 and Augustan Circus Spectacle." Classical Antiquity 14, no. 2 (October 1, 1995): 245–65. http://dx.doi.org/10.2307/25011022.
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In his description of the boat race in the fifth book of the "Aeneid", Vergil's comparison of the ships to chariots can be read not only as an allusion to the Homeric model on which the scene is based but also as part of a larger attempt to recast the episode as a contemporary circus spectacle. Like the Augustan circus, Vergil's boat race offers an image of cosmic and political order. However, beyond its symbolic function the Roman circus also played an active role in realizing the hierarchies it depicted by incorporating its spectators into a unified vision of state and universe. So the boat race too, far from constituting a hiatus in the action of the poem, becomes an instrument for the socialization of those who watch it. The spectacle gives its audience a glimpse of the gods in action and of the leadership of Aeneas himself, whose past accomplishments are reflected in the conduct of the captains. Moreover, the careful organization of internal audiences within the narrative allows every spectator to identify with another figure closer to the center of events and, by extension, invites Vergil's own readers to see themselves as participants in the scene. Thus Vergil uses the model of circus spectacle to bridge the gap separating his audience from the epic past by restaging that past in a form that both was a part of the immediate experience of the contemporary Roman and also provided a crucial context for the constitution of Roman civic life.
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Zimmerman, Franklin H., Arthur E. Fass, Dina R. Katz, and Steven P. Cole. "Safety of Spectator Sports: Blood Pressure and Heart Rate Responses in Baseball and Football Fans." Journal of Clinical Hypertension 12, no. 10 (July 12, 2010): 816–17. http://dx.doi.org/10.1111/j.1751-7176.2010.00342.x.
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Zucca, Antonio, and Maria I. Pilo. "Rollover Cyclometalation as a Valuable Tool for Regioselective C–H Bond Activation and Functionalization." Molecules 26, no. 2 (January 10, 2021): 328. http://dx.doi.org/10.3390/molecules26020328.
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Rollover cyclometalation constitutes a particular case of cyclometallation reaction. This reaction occurs when a chelated heterocyclic ligand loses its bidentate coordination mode and undergoes an internal rotation, after which a remote C–H bond is regioselectively activated, affording an uncommon cyclometalated complex, called “rollover cyclometalated complex”. The key of the process is the internal rotation of the ligand, which occurs before the C−H bond activation and releases from coordination a donor atom. The new “rollover” ligand has peculiar properties, being a ligand with multiple personalities, no more a spectator in the reactivity of the complex. The main reason of this peculiarity is the presence of an uncoordinated donor atom (the one initially involved in the chelation), able to promote a series of reactions not available for classic cyclometalated complexes. The rollover reaction is highly regioselective, because the activated C–H bond is usually in a symmetric position with respect to the donor atom which detaches from the metal stating the rollover process. Due to this novel behavior, a series of potential applications have appeared in the literature, in fields such as catalysis, organic synthesis, and advanced materials.
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Zucca, Antonio, and Maria I. Pilo. "Rollover Cyclometalation as a Valuable Tool for Regioselective C–H Bond Activation and Functionalization." Molecules 26, no. 2 (January 10, 2021): 328. http://dx.doi.org/10.3390/molecules26020328.
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Rollover cyclometalation constitutes a particular case of cyclometallation reaction. This reaction occurs when a chelated heterocyclic ligand loses its bidentate coordination mode and undergoes an internal rotation, after which a remote C–H bond is regioselectively activated, affording an uncommon cyclometalated complex, called “rollover cyclometalated complex”. The key of the process is the internal rotation of the ligand, which occurs before the C–H bond activation and releases from coordination a donor atom. The new “rollover” ligand has peculiar properties, being a ligand with multiple personalities, no more a spectator in the reactivity of the complex. The main reason of this peculiarity is the presence of an uncoordinated donor atom (the one initially involved in the chelation), able to promote a series of reactions not available for classic cyclometalated complexes. The rollover reaction is highly regioselective, because the activated C–H bond is usually in a symmetric position with respect to the donor atom which detaches from the metal stating the rollover process. Due to this novel behavior, a series of potential applications have appeared in the literature, in fields such as catalysis, organic synthesis, and advanced materials.
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Repertório, Teatro &. Dança. "Entre la pérdida y la percepción: posibilidades escénicas [Amalia Gladhart]." REPERTÓRIO, no. 14 (November 3, 2010): 13. http://dx.doi.org/10.9771/r.v0i14.4659.
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<div>Este ensayo analiza representaciones teatrales de la pérdida, y los problemas de la percepción asociados con la pérdida, en dos obras, Los pájaros de la memoria y ¿Estás ahí?. Aunque las obras son muy diferentes - una más elegíaca, la otra cómica - ambas subrayan las maneras en que la pérdida puede afectar o cambiar la percepción y también las maneras en que la pérdida puede ser percibida por el otro. El reto del teatro ante la representación y la percepción de la pérdida escómo comunicar al espectador experiencias que pueden ser internas, privadas, o difíciles de articular.</div><div><br /></div><div>This paper discusses theatrical representations of loss, and of the problems of perception associated with loss, in two plays, Los pájaros de la memoria and ¿Estás ahí?. Although the plays are quite different - one more elegiac, the other comic - both highlight the ways in which loss alters perception as well as the ways in which loss becomes perceptible to others. The problem of the representation and perceptionof loss in the theater is acute, given that the performance must somehow communicate to the spectator experiences which may be internal, private, or difficult to articulate. <br /></div>
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Kosiewicz, Jerzy. "Professional, Spectator, and Olympic Sports in the Context of the Terms Spiritualism and Spirituality, and in the Context of Normative Ethics." Physical Culture and Sport. Studies and Research 68, no. 1 (December 1, 2015): 43–62. http://dx.doi.org/10.1515/pcssr-2015-0024.
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AbstractThe author has used - in his paper - two different expressions related to spirituality in its entirety: that is, spirituality (the spiritual sphere in superficial sense and meaning) and spiritualism (the spiritual sphere in deep sense and meaning). The author presented selected different definitions and manifestations of spirituality and spiritualism.The considerations on so-called “spirituality” - related to different phenomena of culture - without notions of spirituality and spiritualism - are a testimony to ordinary, typical common sense thinking only.Author would like to underline, that contemporary professional, spectator sport and the Olympic Games are only a mass culture phenomenon. A phenomenon of mass culture can be only a mirror of superficial spirituality, but not a testimony to spiritualism (that is, deep spirituality).The ancient Olympic Games - in contrast to the concept of Coubertin’s idea of Olympism - were a manifestation of deep spirituality, that is spiritualism. The Greek Games were based on an internal unity between religiosity, art and sport.
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Lahuti, L. G. "A story about the Daughter of Ka‘b from the Masnavi Ilahi-nameh by the Sufi Persian poet Farid ad-Din ‘Attar." Orientalistica 3, no. 1 (March 29, 2020): 207–46. http://dx.doi.org/10.31696/2618-7043-2020-3-1-207-246.
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Ka‘b’s daughter Rābi‘a is briefly mentioned in the poetical anthology Lubāb al-awbāb by ‘Aufi as a brilliant poet. A subject of the majority of her poems was love and šāhid-bāzī, i.e. gazing at the beauty of youths, which brings the spectator to internal contemplation of the beauty of the Creator. ‘Attar, a Persian Sufi poet (12–13 cent.), dedicated to the love and death of Rābi‘a the longest story in his Masnavis. So far it has not been ascertained whether it was based upon a certain source, which has not survived until the present day, or whether it was a development of the account by ‘Aufi. The first part of the article contains an analysis of the story about daughter of Ka‘b in the Ilahi-nameh, its place within the structure of the poem as well as discusses its possible historical background. Then a line-by-line translation in Russian is provided, together with an extensive historical and philological commentary.The author declares that there is no conflict of interest.
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Király, Hajnal. "Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (September 1, 2016): 67–86. http://dx.doi.org/10.1515/ausfm-2016-0004.
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AbstractThe representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1
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Zagnoli, Patrizia, and Elena Radicchi. "The Football Fan Community as a Determinant Stakeholder in Value co-Creation." Physical Culture and Sport. Studies and Research 50, no. 1 (December 1, 2010): 79–99. http://dx.doi.org/10.2478/v10141-010-0026-9.
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The Football Fan Community as a Determinant Stakeholder in Value co-CreationFans are of central importance to sport service production. Their passion, excitement, and involvement plays a crucial role in event implementation and value creation. Due to the importance of fans as "co-producers" of the sport service, the hypothesis of this research is that a fan community is a salient stakeholder in the value co-creation process. This paper focuses on how a football fan community engages in manifold interaction with its team, the local context, and the network of actors as a whole. Within the theoretical framework of the stakeholders and the network approach, a multi-case analysis and thorough examination of the ACF Fiorentina's season ticket holders database enlightens a system of relationships where fans are able to influence the internal dynamics of the social network that has developed around the football club. In light of the empirical evidence presented by the case studies and the database on supporters, we propose a first typology of fans' roles and strategic behaviours. Findings, though not exhaustive, illustrate not only the roles assumed by fans during matches in terms of identification and participation, but also underline the variety of ways in which fans behave as stakeholders of their own team. In terms of value cocreation, this research highlights the fan community as a salient stakeholder and not just a mere spectator. Fans and supporters not only are crucial actors in implementing the sport service, but they even play an important role of influencing the choices and behaviours of the football club and other stakeholders.
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Ullah, Farman, Yigang Wu, Khalid Mehmood, Fauzia Jabeen, Yaser Iftikhar, Ángel Acevedo-Duque, and Ho Kwong Kwan. "Impact of Spectators’ Perceptions of Corporate Social Responsibility on Regional Attachment in Sports: Three-Wave Indirect Effects of Spectators’ Pride and Team Identification." Sustainability 13, no. 2 (January 10, 2021): 597. http://dx.doi.org/10.3390/su13020597.
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The professional sports events industry is becoming immensely popular due to a global social shift toward larger numbers of spectators at sports events and an ever-increasing variety of such events. This study aimed to investigate the impact of spectators’ perception of corporate social responsibility on regional attachment by applying social identity theory. The present study introduces two mediators, namely, spectators’ pride and team identification, to enlighten the relationship between spectators’ perception of corporate social responsibility and regional attachment, thus contributing to the literature on corporate social responsibility in sports. This quantitative study used a time-lagged approach to collect data in three waves at a time interval of one week and the final sample consisted of 511 respondents (i.e., spectators). Hierarchical regression analysis bootstrapping approach was utilized to analyze the hypothesis. We found that the spectators’ perceptions of corporate social responsibility positively influenced their team identification, and this relationship was mediated by spectators’ pride. In addition, spectators’ pride positively influences regional attachment, and this relationship is mediated by team identification. These findings provide new directions for understanding corporate social responsibility, team identification, spectators’ pride, and regional attachment in sports contexts. The practical and theoretical implications are discussed.
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Ullah, Farman, Yigang Wu, Khalid Mehmood, Fauzia Jabeen, Yaser Iftikhar, Ángel Acevedo-Duque, and Ho Kwong Kwan. "Impact of Spectators’ Perceptions of Corporate Social Responsibility on Regional Attachment in Sports: Three-Wave Indirect Effects of Spectators’ Pride and Team Identification." Sustainability 13, no. 2 (January 10, 2021): 597. http://dx.doi.org/10.3390/su13020597.
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The professional sports events industry is becoming immensely popular due to a global social shift toward larger numbers of spectators at sports events and an ever-increasing variety of such events. This study aimed to investigate the impact of spectators’ perception of corporate social responsibility on regional attachment by applying social identity theory. The present study introduces two mediators, namely, spectators’ pride and team identification, to enlighten the relationship between spectators’ perception of corporate social responsibility and regional attachment, thus contributing to the literature on corporate social responsibility in sports. This quantitative study used a time-lagged approach to collect data in three waves at a time interval of one week and the final sample consisted of 511 respondents (i.e., spectators). Hierarchical regression analysis bootstrapping approach was utilized to analyze the hypothesis. We found that the spectators’ perceptions of corporate social responsibility positively influenced their team identification, and this relationship was mediated by spectators’ pride. In addition, spectators’ pride positively influences regional attachment, and this relationship is mediated by team identification. These findings provide new directions for understanding corporate social responsibility, team identification, spectators’ pride, and regional attachment in sports contexts. The practical and theoretical implications are discussed.
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Soria-Morales, César. "TRAJES DEL PERÚ, REPOSITORIO DIGITAL PARA VALORAR EL PATRIMONIO CULTURAL INMATERIAL." DISEÑO ARTE Y ARQUITECTURA, no. 10 (June 10, 2021): 23–45. http://dx.doi.org/10.33324/daya.v1i10.377.
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La presente investigación muestra la ausencia de un repositorio ordenado de la indumentaria utilizada en el ámbito de las artes del espectáculo, rituales y actos festivos en el contexto peruano. Como consecuencia, la brecha entre el objeto y el espectador se amplía a pesar de diferentes eventos realizados de manera presencial. El traje típico, como parte del patrimonio cultural inmaterial de las danzas, ritos y festividades de una ciudad, evoluciona y se transforma con el transcurso del tiempo por diferentes factores. Un repositorio digital que capture la esencia del traje y su evolución es necesario para conectar y vincular con el objeto cultural. En este sentido, a partir de las características definidas en el Ux Honeycomb la investigación propone determinar la interacción entre estas características en un repositorio digital de trajes para generar valor a la comunidad. Para lograr los objetivos, se ha realizado una revisión de literatura, un análisis de repositorios digitales y entrevistas a expertos, profesionales y alumnos de carreras creativas. Los factores de valor encontrados en el repositorio digital a partir de la investigación son: preservación, conexión, representación y conocimiento, los cuales son complementarios. A partir de la interacción, producida por la fuerza interna y externa, de dos o más valores mencionados anteriormente se genera la utilidad del repositorio digital. Las relaciones e interacciones entre los elementos aportan funcionalidad y vitalidad al repositorio.
Palabras clave: Repositorio de trajes, valor, patrimonio cultural, user experience, diseño web.
AbstractThe research herein shows the absence of an orderly repository of the garments worn at the show arts environment, rituals, and festive acts in the Peruvian context. Consequently, the gap between the object and the spectator broadens regardless of several events carried out in a face-to-face manner. The typical costume, as part of the intangible material cultural heritage of the dances, rites, and festivities of a city, evolves and transforms over time due to different factors. A digital repository that captures the essence of the costume and its evolution is necessary to connect and link with the cultural object. In this sense, based on the characteristics defined in the Ux Honeycomb, the research proposes to determine the interaction between these characteristics in a digital costume repository to generate value to the community. In order to achieve the objectives, a review of the literature was made, as well as an analysis of digital repositories and interviews with experts, professionals, and students of creative careers. From the interaction, produced by the internal and external force, of two or more values mentioned above the utility of the digital repository is generated. The relationships and interactions between the elements bring functionality and vitality to the repository.
Keywords: Costumes repository, value, cultural heritage, user experience, web design.
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Sokić, Jelena, and Aleksandra Crvenko. "Esport: Between internet gaming addiction and traditional sport." TIMS. Acta 14, no. 2 (2020): 117–26. http://dx.doi.org/10.5937/timsact14-29292.
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Despite the growing popularity of esport, few research can be found in the specific area of the competitive nature of playing video games. More precisely, the research is mostly still of a qualitative and exploratory character. Bearing in mind that esport has been systematically attracting players (and spectators) in Serbia for a decade, and so far there is no research in Serbian on this topic in the field of (sport) psychology, the aim of this paper is to provide a concise systematic overview of previous research, with reference to existing methodological limitations and relevant psychological variables. This would help to define more clearly the boundaries between esport players, traditional athletes, and problematic players.
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Papakosta, Alexia, Konstantinos Mastrothanasis, Aphrodite Andreou, and Ioanna Blouti. "Psychometric evaluation of recall and recognition tasks for the measurement of young spectators’ theatrical memory." Journal of Literary Education, no. 3 (December 11, 2020): 176. http://dx.doi.org/10.7203/jle.3.14835.
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The purpose of this research is the construction and psychometric evaluation of seven categories of recall and recognition tasks for the measurement of young spectators’ theatrical memory, based on the respective theatre codes of a specific performance for young spectators. The aim of those tasks is the evaluation of the young spectators’ mnemonic recordings on a level a) the actors’ representation of the characters on stage (acting), b) the visual frame of the performance, c) the audio code d) the lights, e) the dramatic text, f) the plot/action and g) the Shadow Theatre technique.
The recall and recognition tasks were constructed according to the Classical Test Theory of Question Analysis on a sample of 5th Grade Primary School pupils (i.e. ten-year-old pupils), who had seen this specific performance addressed to young spectators and were evaluated with the Factor Analysis method. For the evaluation of the quality of the questions, we took into consideration the difficulty coefficient of each question, the discriminant coefficient and the evaluation of the correlation level of expert judges. For the psychometric control of the tests we examined the validity of their conceptual construct via inquiry factor analysis and the internal validity coefficient.
The result of the above tasks was the creation of seven reliable and valid measurement tools, in which no gender effect is inferred.
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DeSchriver, Timothy D., Daniel A. Rascher, and Stephen L. Shapiro. "If we build it, will they come? Examining the effect of expansion teams and soccer-specific stadiums on Major League Soccer attendance." Sport, Business and Management: An International Journal 6, no. 2 (May 9, 2016): 205–27. http://dx.doi.org/10.1108/sbm-05-2014-0025.
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Purpose – Two of the primary growth strategies for Major League Soccer (MLS) have been team expansion and the construction of soccer-specific stadiums. Therefore, the purpose of this paper is to determine the relationship between these factors and game-specific MLS spectator attendance. Design/methodology/approach – Two multiple regression models, one using multi-level mixed effects linear regression and another using interval regression, were developed to explain the variation in attendance utilizing the two factors of interest along with other control factors that have been identified as attendance determinants in previous literature. Game-specific data were collected for five MLS seasons, 2007-2011. Findings – The two regression models explained approximately 40 percent of the variation in spectator attendance and the results showed that expansion teams and soccer-specific stadiums were significantly related to attendance. However, the effect of soccer-specific stadiums was minimized due to the extreme success of the Seattle Sounders in drawing about twice as many fans as the next highest drawing franchise, yet playing in an American football stadium. Research limitations/implications – While many of the standard factors such as the presence of holidays and novelty players, competition from other professional teams, and day of week, competition from other professional teams; team quality failed to show significance. Expansion teams drew better than incumbent teams and the impact from soccer-specific stadia is weak given the success of the Seattle franchise (and possibly negative when excluding Seattle). Censoring of the dependent variable had a discernible impact on many of the attendance factors. Practical implications – These findings may be useful to managers of MLS and their teams along with other professional teams and/or leagues that are investigating the use of either team expansion or the construction of new facilities to increase spectator attendance. Originality/value – This is the first study to investigate the relationship between expansion and new stadium construction in MLS over multiple years. The results indicate that MLS’s decision to use team expansion and the construction of soccer-specific stadiums has been beneficial with respect to spectator attendance.
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Meyer, Andrew R., Christopher J. Wynveen, and Nick Watson. "Measurement of muscular Christian ideals in sport: Validation of the Contemporary Muscular Christian Instrument." International Review for the Sociology of Sport 55, no. 2 (August 31, 2018): 169–85. http://dx.doi.org/10.1177/1012690218796162.
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Muscular Christianity’s influential role in establishing Western sport values and ideals during the 19th century has long been acknowledged by sport scholars. Yet these relatively dated sets of physical moral constructs are rarely understood as having lasting relevance, or as forming part of the contemporary attraction to sport, and thus have been missing in critical sociological analyses of sport. While shown to be valid and reliable, initial results from developing the Contemporary Muscular Christian Instrument (CMCI) also suggested that modifications to item wording could enhance readability and capture all six theorized factors of muscular Christianity, supported by literature. The current scale development study is aimed to strengthen the instrument and verify its structural validity and internal consistency among a more diverse sample population: spectators at the 2014 Tour de France. Following data collection and cleaning of data, a confirmatory factor analysis was conducted, and internal consistencies were examined. Results indicate strong support for the structural validity of the revised 20-item, 6-factor CMCI, showing strong factor loadings across all items and acceptable internal consistencies for all six-theorized factors. Findings among this international sample of sport spectators suggest that historic muscular Christian themes used to develop this instrument continue to shape and influence perceptions of what is deemed good, right, and valuable in sport. Our findings point to the importance of understanding these six moral constructs as contemporary discussions on the social value and importance of such activities evolve. The revised CMCI provides sociologists of sport a tool by which to examine theorized muscular Christian constructs, promoting certain values about sport and its social “good,” and allows for further investigation into sports’ social significance, meanings, and values within related topics. This paper details the improvements to the survey instrument, the CFA results, and recommendations for future application and research using the survey instrument.
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Pfeifer, Patricia. "The spectator in the interval: Corneliu Porumboiu's The Second Game (2014) and Marta Popivoda's Mass Ornament #1 (2013)." Studies in Eastern European Cinema 8, no. 3 (August 4, 2017): 232–51. http://dx.doi.org/10.1080/2040350x.2017.1360463.
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Furby, Jacqueline. "Rhizomatic Time and Temporal Poetics in American Beauty." Film Studies 9, no. 1 (2006): 22–28. http://dx.doi.org/10.7227/fs.9.5.
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This essay deals with the temporality of film through an examination of narrative, structure and image in Sam Mendes’ film American Beauty (2000), referring to both Gilles Deleuze and Henri Bergson‘s work on time. I argue that the repetition of formal elements (images, settings, colours, shapes, and textures) creates a kind of internal rhyme that is suggested appeals to human aesthetic rhythmic sensibilities and invites the spectators imaginative interplay. This temporal pattern speaks of a particularly human rhythmic design, and provides an escape from the ‘standardised, context free, homogeneous’ clock time ‘that structures and times our daily lives’.
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Tüzün, Defne. "A Moebial Ride through Polanski’s Repulsion." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 426–56. http://dx.doi.org/10.5195/cinej.2020.323.
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This article examines Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.
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Coen, M., L. Leone Ben-Hammoud, A. Simon, K. Samii, R. André, P. Roux-Lombard, J. Seebach, and J. Serratrice. "Hypocomplémentémie C4 et lymphome diffus a grandes cellules B : spectateur innocent ou coupable direct ?" La Revue de Médecine Interne 38 (June 2017): A208—A209. http://dx.doi.org/10.1016/j.revmed.2017.03.308.
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Jeong, Yun-Duk, and Young-Ran Kim. "A Strategy to Strengthen the Competitiveness of Front Office of Professional Football for Promoting Spectators - Focused on Internal Marketing." Journal of the Korea Entertainment Industry Association 13, no. 3 (April 30, 2019): 169–80. http://dx.doi.org/10.21184/jkeia.2019.4.13.3.169.
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Lorimer, Sara, Teresa McCormack, Emma Blakey, David A. Lagnado, Christoph Hoerl, Emma C. Tecwyn, and Marc J. Buehner. "The developmental profile of temporal binding: From childhood to adulthood." Quarterly Journal of Experimental Psychology 73, no. 10 (June 2, 2020): 1575–86. http://dx.doi.org/10.1177/1747021820925075.
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Temporal binding refers to a phenomenon whereby the time interval between a cause and its effect is perceived as shorter than the same interval separating two unrelated events. We examined the developmental profile of this phenomenon by comparing the performance of groups of children (aged 6–7, 7–8, and 9–10 years) and adults on a novel interval estimation task. In Experiment 1, participants made judgements about the time interval between (a) their button press and a rocket launch, and (b) a non-causal predictive signal and rocket launch. In Experiment 2, an additional causal condition was included in which participants made judgements about the interval between an experimenter’s button press and the launch of a rocket. Temporal binding was demonstrated consistently and did not change in magnitude with age: estimates of delay were shorter in causal contexts for both adults and children. In addition, the magnitude of the binding effect was greater when participants themselves were the cause of an outcome compared with when they were mere spectators. This suggests that although causality underlies the binding effect, intentional action may modulate its magnitude. Again, this was true of both adults and children. Taken together, these results are the first to suggest that the binding effect is present and developmentally constant from childhood into adulthood.
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Carey, Richy. "Åčçëñtß." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 36–48. http://dx.doi.org/10.2218/airea.5043.
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In 2018 I was appointed to the position of Glasgow’s first UNESCO City of Music artist-in-residence. Over the course of a year I worked with numerous community groups and choirs across the city to collaboratively devise and realise a new choral/film work, titled Åčçëñtß, which was performed by an audience of over three hundred and fifty people at its premiere at the Glasgow Royal Concert Halls in 2019. Åčçëñtß explores accents as a sonorous social matter – staccatos and lilts, patterns of difference in our voices, as sonic markers of place and community – sounds that I have come to understand as resonating between our individual and collective identities. This paper presents some of the thoery orientating my compositional praxis, speaking nearby a reflective account of some of the compositional considerations and processes undertaken through the project. Through it I explore Karen Barad’s methodology of diffractive thought, Trinh T. Minh-ha’s notion of speaking nearby within the interval, Pauline Oliveros’ practice of Deep Listening, thinking towards how these might meet through my praxis to come close to Timothy Corrigan’s Refractive Cinema. Åčçëñtß speaks to the complexity of authorship and agency in distributed, collaborative composition and the motive relationships between sound and image, spectacle and spectator – between the individual and the communal.
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Haque, Amber. "Muslims and Islam in the Twenty-first Century." American Journal of Islam and Society 22, no. 1 (January 1, 2005): 147–49. http://dx.doi.org/10.35632/ajis.v22i1.1747.
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The Muslim world remains embroiled in a whole host of religious, social,political, economic, and cultural disputes. Without any real internationalinfluence, despite the 57-member Organization of the Islamic Conference,great wealth, and large numbers, Muslims are mere spectators in world politics;Islam is synonymous with extremism; and Muslims are often labeled asterrorists. Such issues, as well as questions of media bias, the validity of the“clash of civilizations” thesis, Islamophobia, and realistic Muslim responsesled to the above conference, initiated by the Department of Psychology,International Islamic University Malaysia (IIUM), Kuala Lumpur.Held at the Putra World Trade Center and hosted by IIUM on August4-6, 2004, this conference attempted to highlight and devise solutions tosome of these burning issues. Distinguished scholars presented 120 selectedpapers, in addition to several panel discussions and keynote speeches.About 400 delegates from over 30 countries participated, and PrimeMinister Abdullah Ahmad Badawi gave the inaugural speech.After an “Introduction to the Conference” by Amber Haque, chairmanof the Organizing Committee, the morning session started with keynotespeeches from Ibrahim Abu Rabi` (“Globalization and Social Change”),Lawrence Pintak (“The Communication Gap between America and theWorld’s Muslims”), and Jamal Badawi (“Muslim–Non-Muslim Relations:An Integrated Approach”). These papers were followed by a panel discussionon “Internal Conflicts in Muslim Societies.” M. Nejatullah Siddiqui,Jamal Badawi, Syed Shahabuddin, Anis Ahmad, Ismail Nawwab, ZiauddinSardar, and Zafar Ishaq Ansari were the participants, while ChandraMuzaffar was the moderator. These scholars seemed to agree that whileMuslims must examine and resolve the ummah’s internal problems, theyshould not ignore the problems’ external sources. This panel session was ...
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Feldherr, Andrew. "Viewing Myth and History on the Shield of Aeneas." Classical Antiquity 33, no. 2 (October 1, 2014): 281–318. http://dx.doi.org/10.1525/ca.2014.33.2.281.
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This article analyzes the representational strategies Vergil uses in the description of the shield of Aeneas to shape the reception of his text. Three aspects of the ekphrasis highlight its ambiguous status as a literary representation figuring itself as a material presence that can become part of history as well as depicting it. First, descriptions of rivers frame narrative units within book 8 as though the text were a visual image, while failing to perform such a function in the case of the shield itself. Rivers also symbolize both the linear progression of the narrative and its static visual surface. Second, the presence of multiple levels of internal spectators simultaneously reminds Vergil's audience of the differences between poem and image and image and reality and provides focalizing perspectives from which each represented image can be perceived as real. Finally, intertextual references to defining features of historiography as a literary genre provide a model for how literary accounts of the past can influence events. But the comparison with historiography also draws attention to what Vergil does differently, particularly his direct representation of divine action and his refashioning of history's linear order into a circular, spatial image that can be viewed synchronically.
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Laudando, Carmela Maria. "The Risky In-betweenness of Performing Audiences." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 45. http://dx.doi.org/10.14198/raei.2013.26.04.
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The paper focuses on the powerful interrogation of the audience’s agency as staged in two very different works that, despite their distance in terms of genre and cultural milieu, both call into question essentially normative notions of gender and nation: Between the Acts (1941) by Virginia Woolf and England (2007) by Tim Crouch. In Woolf’s last novel, the process of writing and reading ambiguously frames the fragmentary staging of an eccentric village pageant on Englishness and its literary heritage. Indeed, the equivocal mise en scène of characters as readers/actors/spectators in the crucial ‘interval’ between the two world wars lends itself well to an inter-disciplinary investigation of the critical predicament underlying those slippery and delusive participatory claims. Crouch’s acclaimed piece England is instead strategically positioned at the intersection of multiple ‘ways of seeing’ and multiple ‘ways of doing things with words’ by conflating the ‘site specifics’ of visual arts with the ‘empty space’ of theatrical experience. As such it urges the audience to ‘see’ the dubious ties between local, ‘g/local’, and globalised spaces and thus to face the invisible national, sexual and socio-normative ‘scripts’ that condition their responses at large.
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Tchertov, Leonid. "Perceptographic code in visual culture." Sign Systems Studies 33, no. 1 (December 31, 2005): 137–58. http://dx.doi.org/10.12697/sss.2005.33.1.05.
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Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is an external record of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication.
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Stevens, P. T. "Ajax in theTrugrede." Classical Quarterly 36, no. 2 (December 1986): 327–36. http://dx.doi.org/10.1017/s000983880001209x.
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A leading character in a play, at any rate in a major speech, is normally doing several things: he is saying what the development of the plot requires, and sometimes also expressing the dramatist's own tragic vision; he is also expressing his own thoughts and emotions, or saying what from his point of view the rhetoric of the situation requires. There are thus at least two questions to ask about theTrugrede:What is its function in the economy of the plot? Why does Sophocles give this speech to Ajax, and what light does it throw on his character as presented by Sophocles? The first question is easy enough to answer. There can be no doubt that this is a deception speech in the sense that Tecmessa and the Chorus are misled about what is going to happen, and at any rate part of Sophocles' purpose was evidently to achieve an effect of relaxation of tension or ‘retardation’. At first all is gloom and despair; then when the suicide of Ajax seems to be imminent, this speech leads Tecmessa and the sailors to think that he means to live on after all, and they express their relief in a joyful hyporchema. Then follows a messenger speech with warnings that dispel their joy but still offer a gleam of hope, until that hope is extinguished when they find the dead body of Ajax. Sophocles has thus contrived an arresting dramatic sequence to fill the interval between the opening scene and the discovery of Ajax' death. The main effect could have been produced by direct, unambiguous falsehood in the speech we are considering, but (still looking at it from the dramaturgical point of view) Sophocles presumably wished the spectators to be aware that the joy and relief were illusory, so that they could at once appreciate the tragic irony of the sailors' rejoicing. There was probably no way of informing the audience directly that the speech was meant to be deceptive, and Sophocles therefore included in it numerous ambiguous expressions which the Chorus and Tecmessa, eager to believe good news, interpret as indicating a change of purpose, whereas for the spectators, who are more detached and probably aware of the traditional version of the story according to which Ajax killed himself, they have ominous overtones and arouse suspicion, in the last lines verging on certainty, that in this play too he still means to take his own life.
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Suryani, Adi, Soedarso Soedarso, Endarko Endarko, and Ahmad Muklason. "WHY WE SHOULD TALK? THE POTENTIALS OF COMMUNITY DIALOG IN GROUNDING AN INTEGRATED RURAL DEVELOPMENT." Journal of Asian Rural Studies 4, no. 2 (July 15, 2020): 154. http://dx.doi.org/10.20956/jars.v4i2.2250.
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Rural development is a social process. It involves local community in all stages of development. Community dialog is a means for facilitating community involvement in determining a development direction, potential development plan and development sus-tainability in the future. Frequently, local community is considered as the development target. This position puts them just being development watchers, spectators, silent and passive recipients. Moreover, these silent roles make them remain unempowered since they do not know how to determine their future, how to take part in collective decision and feel being neglected. This study examines potentials of community involvement in dialog. A qualitative research paradigm is adopted. The data are collected byrecording, transcribing and analyzing community dialog at Klagen, Nganjuk, Jawa Timur. The study finds that community dialog offers considerable potentials. The first potential of community dialog is generating local community commitment, awareness, sense of belongingness and supportive character to build their own homeland. These positive development psychological states,characters and ethos are soft human dimensions which can be critical drivers in rural development. The second is creation of local knowledge and scientific knowledge joint enabling innovation and collective learning process. This joint-knowledge allows the combination of local wisdom and scientific insight. The third is building shared or collective development vision and plan. This plan and vision allow the development prioritizing process and development of rural strength, potential competitive advantage and resource building. The fourth is expanding rural networking and exercising rural people capacity to build wider internal and external social relationship.
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., Eka, and Rini Kartika Hudiono. "KETERLIBATAN MASYARAKAT DI OBJEK WISATA PALAWA’: Studi Kasus Desa Wisata Palawa’ Kabupaten Toraja Utara." KRITIS 29, no. 2 (December 18, 2020): 120–34. http://dx.doi.org/10.24246/kritis.v29i2p120-134.
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Benchmarks of the success of a tourist attraction can be seen from the involvement of the community. Community based tourism is a form of tourism development that aims to empower people in independence and decision making. This study aims to determine and analyze the involvement of local communities in the development of tourism in the Palawa’ Village and identify any obstacles that affect the involvement of local communities in the development of Palawa’ Village. This research was conducted for 6 months from September 2019. Researchers used data collection methods through interviews, observations, and documentation to the management or manager of Palawa’ Village and the community and used a descriptive qualitative approach. The results of this study indicate that lack of community involvement in Palawa’ Village. This is because not all communities have a traditional house (Tongkonan) so they cannot be directly involved and only become spectators in every activity that is held. The internal factors that influence community involvement are the low quality of education so that limited knowledge is very influential on how to manage good tourism businesses and existing entrepreneurial management knowledge. While externally, there is a lack of cooperation between tourism managers and outsiders such as the Culture and Tourism Office, Regional Planning Agency (Bappeda), Youth Organization and Pokdarwis. Researchers provide recommendations to managers to provide counseling or training to the community so that community knowledge about tourism is higher, Involving all communities and stakeholders in the development of Palawa’ Village attractions and increasing good cooperation between managers and outsiders.
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Ferrone, Alex. "Here and Then: Theatricalizing Space–Time Compression in Philip Ridley'sMercury Fur." Theatre Survey 58, no. 3 (August 10, 2017): 352–74. http://dx.doi.org/10.1017/s004055741700028x.
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Philip Ridley has made a career of courting controversy in his work for the stage, from the claustrophobia and anxiety of his first play, 1991'sThe Pitchfork Disney, to the sprawling, ragtagKaragula, whose one-star review in theTelegraphled with the provocative headline, “Is Karagula the Worst Play of 2016?” But perhaps no play in Ridley's oeuvre has attracted as much notoriety as 2005'sMercury Fur, an intense, unrelenting, “interval-less two-hour piece” whose premiere divided critical opinion and provoked walkouts. Paines Plough, the company that commissioned the play, reports that “at least ten audience members a night left every show, unable to take the atmosphere of threat and violence portrayed on stage.”Mercury Furis set in a futuristic English dystopia whose aimless youth find their grasp on history—and their own memories—slipping away as they become addicted to hallucinogenic butterflies released upon the populace by an ambiguous invading power. While the protagonist, Elliot, ekes out a living peddling butterflies in an ice cream van, he and his brother, Darren, make their real money from throwing “parties,” clandestine meetings for rich clients who pay exorbitantly to fulfill their most violent and murderous sexual fantasies. The play, performed in real time, sees the frantic preparation for—and eventual botched execution of—one such party for a City of London executive (the Party Guest), whose Vietnam War–themed fantasy involves torturing and killing a child Elvis Presley impersonator (the Party Piece) with a meat hook. Unsurprisingly, given the subject matter, moral outrage attendedMercury Fur’s initial run, with Faber, Ridley's longtime publisher, going so far as to refuse to print the play. But a number of critics and spectators rose to defend the integrity and artistic merit of Ridley's work, a position I extend in this paper.
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Dinić-Miljković, Vesna. "The affect and its image in Gilles Deleuze's philosophy." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 1 (2021): 3–16. http://dx.doi.org/10.5937/zrffp51-28286.
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There is no perception without affection. This necessity comes from the very fact that perception measures our possible action upon things, and thereby, the possible action of things upon us. For the French philosopher Gilles Deleuze, affection occupies exactly this gap between the potentiality of action of the perceived objects and our virtual action upon them. This encounter between the affected body and the affecting body presumes the in-betweenness, an interval between a perception which is troubling in certain respects and a hesitant action. As opposed to emotion, which is directed toward a certain goal and demands actualization, affect precedes will, as a pre-personal intensity referring to the passage from one experiential state of the body to another. Influenced by Baruch Spinoza's concept of affect and Henri Bergson's thesis on movement that he considers the essence of cinema's movement-image, Deleuze creates his own theory of affect that finds its most obvious manifestation in the works of art. The artist creates affects, gives them to us, draws us into the compound, and makes us become with them. Deleuze's aesthetics produces the spectator's movement in-place through sensation. Through shapes and colours, the canvas vibrates, clenches or cracks open because it is the bearer of glimpsed forces. Like with Edward Munch's The Scream or Francis Bacon's Portrait of Pope Innocent X, the invisible forces become visible in themselves and thus the sensation becomes materialized right there on the canvas surface. In cinema, this materialization of sensation Deleuze recognized in the affection-image, abstracted from the causal and spatio-temporal relations to the images that surround it, and therefore open to a spiritual dimension. As power-quality, the affect gains its independence from the thing that expresses it and becomes an entity, a potentiality considered to itself.
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Sveshnikov, Alexander V. "Actual problems of the composition of the artistic image." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 87–99. http://dx.doi.org/10.17816/vgik11287-99.
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This essay explores the general compositional features by opposing the common understanding of composition as an arrangement of the image on the sheet surface. An image is essentially a text that conveys information from the author to the viewer and has no meaning without them. The main premise is that a semantic compositional unit can be represented by the sequence conveyor image perceiver. It is shown that a pictorial text consists of separate elements with a certain structure (experiments of R. Pritchard). These elements, in turn, are closely interrelated with each other, and only in this connection can their artistic meaning be perceived. The perception of meaning is a temporal process, which is determined by the transition of gaze from one group of elements to another. In different contexts and with a different route of perception, the same group can carry different meanings. It is important that if the image does not carry any specific information for us it can nevertheless cause associations which mostly reflect our inner essence. In this case, the viewer can understand the original general meaning of the work very subjectively, despite all the efforts of the author to show a clear structure of the image.
In this regard, the compositional routes of the spectator's perception of pictorial elements can differ greatly from one another, depending on the viewer's internal presets, which Alfred L. Yarbus proved experimentally back in the 1960s. The essay briefly discusses some properties of pictorial signs and their impacts on the emotional sphere of a person.
Finally, several pedagogical conclusions are made, in particular that the ability of the student to penetrate into the symbolic artistic-semantic structure requires education and development of his personality. Without this, he will only glean the surface, the material aspect of the image. That is why an unprepared student is often fond of "illusionism", of copying. Only serious pedagogical work that requires knowledge of the fundamental principles of composite image construction helps to cope with this.
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Suleiman, Elia. "The Occupation (and Life) Through an Absurdist Lens." Journal of Palestine Studies 32, no. 2 (January 1, 2003): 63–73. http://dx.doi.org/10.1525/jps.2003.32.2.63.
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Elia Suleiman, born in Nazareth in 1960, is the first Palestinian filmmaker to be selected for the "official competition" of the Cannes International Film Festival: his Divine Intervention: A Chronicle of Love and Pain was not only one of the twenty-one films out of 939 entries chosen for the fifty-fifth festival in May 2002, it also won the Jury Prize and the Interna tional Critics Prize. Suleiman had already come to the attention of the 2001 Cannes Festival, where his short Cyber Palestine was shown at the "Directors' Fortnight." Though without formal training, Suleiman has been winning prizes since his first film, a short entitled Introduction to the End of an Argument, won the award for best experimental documentary-USA in 1991. This was followed by his 1992 short Homage by Assassination, which won a Rockefeller Prize. By the time he made his first full-length movie, Chronicle of a Disappearance (which won the prize for the best first-feature at the 1996 Venice International Film Festival), his style was already well developed: a progression of sketches——witty, surreal, ironic, often devastating——and a virtual absence of narrative; in the case of Chronicle, a main character (a filmmaker called E.S., played by Suleiman himself) appears in a number of the episodes, most of which shed harsh light on life in Nazareth, but his presence seems more accidental than part of a storyline. Film critic Stanley Kaufman of the New Republic called Chronicle of a Disappearance "a film of the absurd. If Ionesco had been a Palestinian and a filmmaker, he might have made it." While his recent film, Divine Intervention, is still very much an assemblage of vignettes, it does nonetheless have a semblance of narrative: a "central character" (again, a filmmaker named E.S., again played by Suleiman) shuttles between his hometown of Nazareth, where his father, beset by business woes, has a heart attack and lies dying; his apartment in East Jerusalem, where he is working on a screenplay; and a checkpoint between East Jerusalem and Ramallah, where he holds tender but wordless meetings in a parked car with his lover, a Ramallah woman hemmed in by borders and closures. In one of the checkpoint scenes that combines the visual beauty, whimsy, humor, and satire characteristic of the film, the hero inflates a large red balloon bearing the smiling visage of Yasir Arafat and releases it, creating havoc among the soldiers. Taking advantage of the ensuing confusion, the hero and his lover manage to speed through the checkpoint, while the camera follows the balloon as it soars over the landscape toward Jerusalem, floating over the rooftops of the Old City and past the Church of the Holy Sepulcher to a light on the Dome of the Rock. When Divine Intervention won the Jury Prize at Cannes, the New York Times (27 May 2002) called it "a Keatonesque exploration of the large and small absurdities of Palestinian life under occupation." And indeed, despite the humor, moments of tenderness, and laugh-out-loud sight gags, the film presents an all-too-realistic picture, pitiless and meticulous, of the devastating impact of occupation on Palestinian society both in Israel and in the occupied territories. Suleiman is witty and light, but dead serious; allergic to preaching, propaganda , and clichéé, but highly political. The underlying grimness of the film is relieved not only by the humor but by resort to fantasy: the hero, cruising a long a highway, casually tosses an apricot pit out of his car window and a tank blows up; a stunningly beautiful woman (the hero's lover) strides through a checkpoint, mesmerizing the soldiers with her fierce beauty, and a military watchtower collapses. The most elaborate such sequence is the spectacular "Ninja scene," a violently beautiful and stylized choreography wherein the same woman is imagined as a guerrilla fighter who dispatches (seemingly bloodlessly) a whole phalanx of Israeli sharpshooters who have been firing at her effigy in a shooting range. The meaning of the images, whose connectedness one to the next is not always immediately apparent, can leave the spectator temporarily puzzled; the New York Times of 7 October 2002 called them "cinematic riddles and visual puns, delivered in elegant deadpan." The cumulative impact, however, is clear, and the images themselves linger long after the film ends. New York Times critic A. O. Scott, while noting the film's "appearance of randomness," adds that there is "an oblique, elegant sense of structure here" and that "the interlocking series of setups, punch lines and non sequiturs add up to something touching, provocative, and wonderfully strange." Divine Intervention currently is being shown throughout Europe and will be opening in the Middle East and Israel in January 2003. Shown at the New York Film Festival in October 2002, it will open commercially in the United States in January. Suleiman, in Paris for the opening of his film, was interviewed by Linda Butler, associate editor of JPS, on 26 September 2002.
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Chow, T. Edwin. "Estimating the Crowd Size of a Rally by Crowdsourcing-Geocomputation." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-46-2019.
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<p><strong>Abstract.</strong> Dynamic population estimation – counting people in a special event (e.g. rally, sport events, evacuation) has been challenging because a large crowd is difficult to acquire an accurate count manually as people can join and leave the crowd at any time and place. In the context of a rally where people are moving on the streets over an extended period, it is often difficult to answer some questions with regards to confine the phenomenon, including but not limited to: When and where does the rally start/end precisely? Who are the attendees (e.g. activists, spectators, organizers, police, opposing crowd(s), etc.)? How does the confining environment affect stochastic human behaviours, interactions and movements over time and space? What is the count (e.g. peak attendance, total count)?</p><p>Nevertheless, estimating the attendance of these dynamic events could be emotionally and politically charged. Due to these practical uncertainties of dynamic population estimation, the attendance of annual July 1st Rally in Hong Kong reported by the police and organizers could be very different as it often became a bluffing game to promote hidden political agenda. For example, the police estimated a peak attendance of 9,800 in the 2017 July 1st Rally, whereas the organizers reported five times the attendance at about 50,000. Independent researchers from the University of Hong Kong estimated the total attendance of 14,170 (Yip, 2017) and 29,000 (HKUPOP, 2017) respectively. With limited field observations, it is hard to examine the accuracy and confident level of these reported counts.</p><p>This research aims to estimate the total attendance of 2017 July 1st Rally in Hong Kong and examine the counts reported by various stakeholders. Based on many stories reported by the public and social media, the timeline of the rally event was reconstructed to trace the observed rally time of the head and tail crowds participated in the rally event. Important geospatial features, including the street network, approved protest areas and entry/exit gateways along the main rally route, were reconstructed in the Geographic Information System (GIS). This study adopted a crowdsourcing-geocomputation approach to simulate how a dynamic crowd would have navigated in such as rally event (Chow, 2019). Using a mobile application that tracks individual trajectory, volunteers were recruited to contribute valuable in-situ data of dynamic human movements and behaviours attending the rally event. These data were used to formulate and calibrate the parameters of a computational cartographic model where each rally attendees were represented as a moving agent (x, y, t) confined in a micro spatial environment where the protesters marched from Victoria Park to the Government Headquarter in Hong Kong. Hence, individual GPS (Global Positioning System) trajectory during the rally was collected and converted into GIS data format for further analysis. More details about the data collection and processing can be found on the project website (https://chowte.wixsite.com/dynamicpop). By leveraging a large number of observations volunteered by crowdsourcing, this study attempted to answer the research question: <i>What might be the simulated crowd size that reasonable range of model parameters can be converged?</i></p><p> Using this crowdsoucing-geocomputation model, a sensitivity analysis was conducted to simulate varying model parameters, including maximum walking speed, maximum crowd density, early departure and late entry rates. Based on the reported count reported by the police, organizers and independent researchers, various crowd sizes were simulated to be compared against the observed rally time of 209 minutes (i.e. about 3.5 hours) from start to finish. Using the crowdsourced data for calibration, most rally models simulated an arrival time of head crowd between 106&ndash;108 minutes, which was very close to the observed rally time of head crowd of 107 minutes. In this study, crowd sizes were considered to be acceptable based on a 95% confidence interval of arrival time of tail crowd (i.e. 174&ndash;192 minutes) and total rally time (i.e. 199&ndash;219 minutes). For example, a crowd size of 9,800 people was simulated matching the total rally time to examine the credibility of calibrated model parameters (Figure 1).</p><p> Within the tested range of calibrated model parameters, the results indicated that it was possible to tweak the model parameters of varying crowd size to match the observed rally time (Table 1). Despite the simulated rally time of some accepted models were within ±5% of the observed rally time, the parameters used to simulate such a model were not necessary reasonable in reality. The simulated count of 9,800, for example, would require a cap of maximum walking speed of 0.5&thinsp;m/s, which seemed to be unreasonably slow under normal circumstance and incompatible with crowdsourced data (Figure 1). Given the observed rally time, it was found that the crowd sizes of 14,000&ndash;29,000 could be simulated with reasonable model parameters, whereas the crowd sizes of 9,800 and 50,000 would yield unreasonable model parameters. Taking the median within the range of 14,000&ndash;29,000, this study also found that a crowd size of 21,000 could yield eight matching simulations with varying reasonable model parameters that may be better simulate the actual rally attendance.</p><p>This paper provided empirical evidences to examined the credibility of various crowd sizes of the 2017 July 1st Rally in Hong Kong reported by the stakeholders. The research also presents a transparent, repeatable and verifiable approach to explore, quantify and simulate human movements in a rally event, such as the early departure and late arrival, to better understand dynamic crowd behaviours and interactions.</p>
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Filho, Luiz Augusto Coimbra de Rezende. "Second person narrative in War Documentaries." AVANCA | CINEMA, May 10, 2020. http://dx.doi.org/10.37390/ac.v0i0.52.
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Cinematic-letters have been an important modality of using a second-person narrative in documentary films. Several filmmakers, such as Marker, Varda, Mekas and Kramer, dedicated themselves to construct and redefine this modality as a non-hegemonic form of documentary and/or as an explicit way to put subjectivity at the foreground.Second person narratives represent a specific strategy to interpellate spectators. Interpellation is “the recognition of someone, who in turn is expected to recognize himself as the immediate interlocutor” (Rascaroli 2009). If address and interpellation are always present in documentary narrative, whether first, second-, or third-person, second person narratives can make the presence and the existence of a “you” explicit, creating thus a specific form of spectator’s participation.In A Diary for Timothy (Jennings 1945), second person narrative has the potential to make explicit a form of address that challenged spectators to leave their comfort zone, and face the uneasy feeling of being the addressed ones. Thus, the film created a specific form of spectator participation in documentary cinema.Similarly, Strange Victory (Hurwitz 1948) “combines reedited archival footage with scenes of contemporary America and acted sequences” with “a male voice over addressing the viewers directly and expressing a sense of urgency and anger” (Decker 2011). As in Timothy, this second person voice-over helps constructing opposition and/or identification relations between the documentary voice and the spectator, in order to deconstruct the vision of a unified nation or emphasize its internal violence and disunity (Decker 2011).
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Mayer, Kurt C., and Eric Hungenberg. "Sport attendance behavior spectrum: motivators, constraints and context." International Journal of Sports Marketing and Sponsorship ahead-of-print, ahead-of-print (September 15, 2020). http://dx.doi.org/10.1108/ijsms-04-2020-0070.
Full textAbstract:
PurposeThe purpose of this paper was to explore a new sport attendance behavior spectrum framework where sport consumer behavior is not derived from just a dichotomy of a motivator positively impacting attendance or a constraint negatively impacting attendance. Rather, when accounting for the context of the setting (e.g. sport, playing level, locality, patron type, etc.), some areas belong on a spectrum that fluctuates between positive and negative impacts on attendance that are dependent on the context of the given environment.Design/methodology/approachThrough factor analysis and structural equation modeling, the proposed model attempted to explain relationships between five second-order factors and game attendance, which expanded to include the new internal contextual and external contextual factors, and ultimately team fandom.FindingsThe results indicated three significant main effects where internal contextual exhibited a positive relationship with attendance, while constraints and external contextual demonstrated a negative relationship. Internal and external motives were not significant. Further, the moderating effect of high and low sport interest groupings largely indicated no significant spectator differences. The model explained 24% of the variance in attendance, and attendance accounted for 41% of the variance in team fandom.Originality/valueAttendance is intricate, and this study highlighted the importance of considering and adapting to the sporting context as some factors exist on a sport attendance behavior spectrum and differently impact spectators positively or negatively, given the context of the setting. Further, in this lower-level sport setting, consumers viewed minor league hockey more as a leisure commodity than a premier sport contest.
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Bastami, S., L. Gamberg, B. Parsamyan, B. Pasquini, A. Prokudin, and P. Schweitzer. "The Drell-Yan process with pions and polarized nucleons." Journal of High Energy Physics 2021, no. 2 (February 2021). http://dx.doi.org/10.1007/jhep02(2021)166.
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Abstract The Drell-Yan process provides important information on the internal struc- ture of hadrons including transverse momentum dependent parton distribution functions (TMDs). In this work we present calculations for all leading twist structure functions de- scribing the pion induced Drell-Yan process. The non-perturbative input for the TMDs is taken from the light-front constituent quark model, the spectator model, and available parametrizations of TMDs extracted from the experimental data. TMD evolution is im- plemented at Next-to-Leading Logarithmic precision for the first time for all asymmetries. Our results are compatible with the first experimental information, help to interpret the data from ongoing experiments, and will allow one to quantitatively assess the models in future when more precise data will become available.
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Riley, Jonathan. "Genes, Memes and Justice." Analyse & Kritik 28, no. 1 (January 1, 2006). http://dx.doi.org/10.1515/auk-2006-0103.
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AbstractKen Binmore argues that justice consists in a proportional bargaining equilibrium of a ‘game of morals’, which corresponds to a Nash bargaining equilibrium of a ‘game of life’. His argument seems unassailable if rational agents are predominantly self-interested, an assumption that he is apparently willing to make on the grounds that human behaviour is ultimately constrained in accord with the selfish gene paradigm. But there is no compelling scientific evidence for that paradigm. Rather, human nature appears to be highly plastic. If so, rational agents might eventually be moulded by cultural forces into social and moral actors who effectively believe that they are the same person-no different from anyone else−when it comes to certain vital personal interests which ought to be treated as rights. In this context, a utilitarian outcome is an efficient and fair equilibrium of the game of life. Compliance with the rules is enforced by the actor’s own conscience, a powerful internal ‘judicious spectator’ which threatens to inflict harsh punishment in the form of intense feelings of guilt for cheating.
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Raboteg-Šarić, Zora. "Interne determinante altruizma: da li je pomaganje drugima u osnovi egoistično ili altruistično?" Papers on Philosophy, Psychology, Sociology and Pedagogy 24, no. 1 (April 17, 2018). http://dx.doi.org/10.15291/radovifpsp.2531.
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Classical meaning of altruism lies in the fact that it seems to represent an exception from convincing' principle which argues that behaviour is controlled by rewards and punishments and in this connection by generalization that people are essentially egoistic. Contemporary researches of the positive forms of social behaviour are only peripherally relevant for this centuries-old question. The majority of these researches investigate situational factors and external determinants of altruistic behaviour. But by turning from the investigation of altruism as a social form of behaviour to definition of altruism as an attribute of personality, a problem necessarily arises of establishing internal determinants and motivational structure of the helping act. Recent approaches point out the importance of emotional factors as fundamental mediators in helping others. These approaches are different from the above mentioned ones because they presuppose different kind of motivation, caused by emotional excitement. According to Piliavin and Piliavin model, helping others in a trouble is exclusively motivated by egoism. Batson and Coke on the other hand presuppose the experience of empathy can be a cause of unaffected altruistic motivation to help. According to this model the spectator of a troubled person can experience qualitatively different emotions: personal anxiety and empathic care for the troubled person, These different emotional reactions result in different motivation to help. There is a suggestion that the experience of empathy provokes altruistically motivated behaviour, i. e. help whose aim is a reduction of the other’s trouble and not of personal unpleasant states. The authors propose a method as well how to ascertain empirically whether motivation to help other is altruistic or egoistic in its essence. At the same time this model represents the first meritorious attempt to ascertain the motivational basis of seemingly unselfish helping others not notionally only but empirically as well.
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"Poetiks of L. Andreev’s play «The dog's walse»." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 81 (2019). http://dx.doi.org/10.26565/2227-1864-2019-81-15.
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In article is devoted to the thorough analysis of poetics and genre peculiarities of L. Andreev’s play « The dog's walse ». The study showed that the important role in this work play modernistic principles of representation of world and person as neomythologism, intertextuality, motifity, dominating of symbolical types and characters, irony, grotesque. This is the “new drama” which moves behind the scene external conflict and the action, the key role is played by internal conflict and subtext, which is finding realization in neomifological storyline. The study of L. Andreev drama’s chronotop in various periods of his work, along with variability, demonstrates his apparent conceptual uniformity. The local framework, where he transfers the action in the play " The dog's walse ", represents only spatial variations of the locuses of early dramas and plays of the second half of the 1900s, the invariant of which can be considered the room where the Life of Man flows in the work of the same name. Furthermore, in the play, aside from the spaceless chronotope offered to the spectator, it is steadily found, often dominating the open "space" chronotope, acquiring the symbolic spatial outlines of petersburg's topos. In this regard, the transformation undergoes an author's interpretation of the mythopoetic motive of the mask, which is an important attribute of the Andreev’s drama art system. Instead of sketchiness and hypertrophied mannequins, mask characters of the "conditional" drama came more deeply, at the level of subtext, grotesque images, in which the writer combines the motive of the mask with the motives of the game, duality, and again appeals to the traditional model of character of his mirrors for his work, which at different angles reflect not only the ideological doctrines and actions of the heroes, but also the state of their deformed consciousness and the psyche. The results of our research refute the conception, that approves the evolutional type of Andreev’s dramaturgy from early realistic to “conventional” symbolico-expressionistic drams and drams ‘panpsihe”. Type of the conflict, which lies in its basis, and also all levels of its structure revealed the modernistic nature and isomorphism with Andreev’s prose. Apparently, both in prose, and in dramaturgy of the writer there was no evolution, the accents in the author’s concept only changed and the appropriate art means and image forms merely varied. Already in the first dramas all was put that only came to light, deepened and became more obvious.