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Books on the topic 'Lecturers Performance'

Author: Grafiati
Published: 4 June 2025
Last updated: 23 June 2025

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1

C, Peeps Claire V., and Photographic Resource Center (Boston, Mass.), eds. Photography & performance: Exhibitions, performances and lectures. The Center, 1989.

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2

Kunstverein, Kölnischer, Salon Muzeja savremene umetnosti, and Kuća legata (Belgrade Serbia), eds. Lecture performance. Revolver Publishing by VVV, 2009.

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3

Zumthor, Paul. Performance, réception, lecture. Le Préambule, 1990.

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4

Peters, Sibylle. Der Vortrag als Performance. Transcript, 2011.

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5

Hahn, Reynaldo. On singers and singing: Lectures and an essay. Amadeus Press, 1990.

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6

Jenny, Jones. Effective Performance of the Clinical Link Lecturer Role. Bournemouth University,Institute of Health and Community Studies, 1995.

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7

McKay, Elizabeth Norman. The impact of the new pianofortes on classical keyboard style: Mozart, Beethoven, and Schubert. Lynwood Music, 1987.

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8

McKay, Elizabeth Norman. The impact of thenew pianofortes on classical keyboard style: Mozart, Beethoven and Schubert. Lynwood Music, 1987.

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9

1958-, Calzarossa Maria Carla, Gelenbe E. 1945-, and International Symposium on Modeling, Analysis, and Simulation of Computer and Telecommunication Systems (11th : 2003 : Orlando, Fla.), eds. Performance tools and applications to networked systems: Revised tutorial lectures. Springer, 2004.

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10

Bale, Chris J. C. High performance engineer-ing: IMechE/SAE lecture 2002. Society of Automotive Engineers, 2002.

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11

Vanhee, Sarah. Lecture for every one. Art Paper Editions, 2020.

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12

Goehr, Lydia. The quest for voice: On music, politics, and the limits of philosophy : the 1997 Ernest Bloch lectures. Oxford University Press, 2002.

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13

Goehr, Lydia. Quest for voice: Music, politics and the limits of philosophy : the 1997 Ernest Bloch lectures. Oxford University Press, 2002.

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14

New York State Early Music Association., ed. The age of elegance: New York State Early Music Association lecture/demonstrations, 1994-1996. The Association, 1994.

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15

Blamont, Jacques. Using large launchers for small satellites: Introductory lecture to 10th annual AIAA/Utah State University Conference on Small Satellites--September 16, 1996. National Aeronautics and Space Administration, Jet Propulsion Laboratory, California Institute of Technology, 1996.

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16

Center, Goddard Space Flight, ed. Spectral and spectral-element methods: Lecture notes in high performance computational physics. National Aeronautics and Space Administration, Goddard Space Flight Center, 1997.

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17

Center, Goddard Space Flight, ed. Spectral and spectral-element methods: Lecture notes in high performance computational physics. National Aeronautics and Space Administration, Goddard Space Flight Center, 1997.

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18

Center, Goddard Space Flight, ed. Spectral and spectral-element methods: Lecture notes in high performance computational physics. National Aeronautics and Space Administration, Goddard Space Flight Center, 1997.

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19

Tarantino, Joseph. Effects of Cell Phones on Student Lecture Note Taking and Test Taking Performance. [publisher not identified], 2019.

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20

North Atlantic Treaty Organization. Advisory Group for Aerospace Research and Development. AMP Working Group 12 and AGARD Lecture Series 163 human performance assessment methods. AGARD, 1989.

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21

Dey, Misri. Making Solo Performance. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350495340.

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Focusing specifically on solo making and performing, this unique and exciting text allows the experts to speak for themselves. In interviews with Misri Dey, six recognised solo performers working across a range of performance genres – including theatre, dance, live and performance art, site-specific performance, music video and film – provide insightful and practical strategies for creative making and performing processes. Interviewees include Bryony Kimmings, Tim Etchells, Bobby Baker, Mike Pearson, Wendy Houstoun and Nigel Charnock. Engaging and accessible, this is an invaluable resource for undergraduate and postgraduate students of theatre, performance and acting, scholars, lecturers and performance practitioners. It will also appeal to undergraduate and postgraduate students of women's studies, creative writing and the visual arts.
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22

Zimmerman, Sarah. The Romantic Literary Lecture in Britain. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833147.001.0001.

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Public lectures on poetry caught the popular imagination in Britain in the first two decades of the nineteenth century with the performances of John Thelwall, Samuel Taylor Coleridge, Thomas Campbell, and William Hazlitt. Lecturers aimed to shape auditors’ reading habits, burnish their critical profiles, and establish a literary canon, but auditors also wielded considerable influence, since their sustained approbation was necessary to a series’ success. A number of oral traditions fed the literary lecture’s development, but it emerged most vitally out of and against the radical speaking culture of the 1790s in which Thelwall and Coleridge had participated, and developed in anxious proximity to an expanding literary marketplace. These pressures informed lecturers’ critical arguments as they debated who should receive a literary education, what works they should read, and for what ends. As historical speaking performances, public lectures demand a methodological approach of their own, because lecturers communicated their arguments with words, physical gestures, facial expressions, and via self-presentation. An interdisciplinary scholarly consensus now recommends approaching these events by gathering as many surviving texts as possible from both parties and situating these performances in their specific times and places. Although women were disallowed from being public literary lecturers, female auditors performed significant cultural roles as patrons, and as hosts and guests at private gatherings that sometimes followed public lectures. Auditors including John Keats, Mary Russell Mitford, Lady Charlotte Bury, and Catherine Maria Fanshawe responded to lectures in conversation, poems, letters, and journal entries that should be considered creative works in their own right.
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23

Stewart, Larry. Physics on Show: Entertainment, Demonstration, and Research in the Long Eighteenth Century. Edited by Jed Z. Buchwald and Robert Fox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199696253.013.11.

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This article explores how public performances, research, and devices of demonstration put physics on show during the long eighteenth century. It first considers how demonstration machines made physics real to an amateur audience, how philosophical instrument-makers essentially manufactured the market for public performance, and how entertainment provided by experimental lectures evolved into engagement of many kinds. It then discusses the reactions of audiences to lectures, focusing on the experience of one lecturer: James Dinwiddie. It suggests that those captivated by experimental drama in a cosmopolitan Europe were further drawn to the instrument-makers’ shops. Many sought out apparatus that transformed amusement into their own exploration of nature. While dissemination in the physical sciences clearly had much to do with this commerce in devices, the purchase of apparatus was almost as anonymous as attendance at lectures.
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24

Strømmen-Bakhtiar, Abbas, Roger Helde, and Elisabeth Suzen, eds. Supplemental Instruction. Volume 1: Digital Technologies. Waxmann Verlag GmbH, 2021. http://dx.doi.org/10.31244/9783830993247.

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Supplemental Instruction is a program designed to support students in their learning process. The program consists of advanced students supervising new students, where the purpose is to improve students' performance and reduce the risk of interruption of studies. Supplemental Instruction was established almost 50 years ago and is used today in universities around the world. This book is about the role, use and place of digital technologies in supplemental Instruction, which includes why we need Supplemental Instruction, teacher’s integration of technology experience with lecture capture and more. The book is aimed at anyone who is concerned about study quality in higher education. The contributors are researchers and lecturers at various universities from several countries. This book is the first of a trilogy on Supplemental Instruction, where the themes for the other books are " Student Learning Processes" and “Organization and Leadership”. The editors of the trilogy are Abbas Strømmen-Bakhtiar, Roger Helde and Elisabeth Suzen, all three Associate Professors at Nord University, Norway.
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25

Lectures on Language Performance. Springer, 2012.

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26

Osgood, C. E. Lectures on Language Performance. Springer, 2012.

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27

Hill, Leslie. Sex, Suffrage and the Stage. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350494947.

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Marking the 100-year anniversary of women's suffrage, Leslie Hill provides a fascinating survey of the history of first wave feminism in British theatre, from the London premiere of Ibsen's A Doll's House in 1889 through the militant suffrage movement. Hill's approachable overview explores some of the pivotal ways in which theatre makers both engaged with and influenced feminist discourse on topics such as sexual agency, reproductive rights, marriage equality, financial independence and suffrage. Clear and concise, this is an ideal resource for undergraduate and postgraduate students of theatre and performance studies taking courses on Women in Theatre and Performance, Staging Feminism, Early Feminist Theatre, Theatre and Suffrage, Gender and Theatre, Political Theatre and Performance Historiography. This text will also appeal to scholars, lecturers, and Literature students.
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28

Human performance past and future. 1990.

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29

Wright, Tom F. Britain as Order. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190496791.003.0004.

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Chapter 3 considers Emerson’s lecture “England” in two distinct settings: its Clinton Hall performance and its subsequent recital during appearances in Ohio in May 1850. It argues that reports of “England” in the Manhattan media appropriated the lecture as a useful shoring up of transatlantic affection in the wake of anti-British urban upheavals of the late 1840s. Subsequent responses to his Ohio performances demonstrated a pattern of resistance to the metropolitan interpretations, appropriating anew the resonance of Emerson’s appraisal for Midwestern realities. This chapter offers a detailed account of the context, delivery, and conflicting readings of these Emerson performances. In doing so, it restates a running theme of this book: that the lecture circuit, so often omitted from discussions of broader performance culture, needs to be reconnected to wider debates within the antebellum media concerning Anglo-American show practices, physicality, and manners.
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30

Gallagher, Shaun, and Carlos Vara Sánchez. Performance/Art: The Venetian Lectures. Mimesis Edizioni, 2021.

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31

(Editor), Maria Carla Calzarossa, and Salvatore Tucci (Editor), eds. Performance Evaluation of Complex Systems: Techniques and Tools: Performance 2002. Tutorial Lectures (Lecture Notes in Computer Science). Springer, 2002.

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32

(Editor), Maria Carla Calzarossa, and Erol Gelenbe (Editor), eds. Performance Tools and Applications to Networked Systems: Revised Tutorial Lectures (Lecture Notes in Computer Science). Springer, 2004.

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33

Bleeker, Maaike. Lecture Performance as Contemporary Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0015.

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The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.
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34

Wright, Tom F. The American Lecture Hall and an Anglo-American Commons. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190496791.003.0002.

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This chapter introduces the themes of the book through a survey of lecture culture during the 1830s–1860s. It draws upon a wide archive of articles, editorials, letters, journal entries, public commentaries, and reminiscences to nuance the claims of multiple generations of historians and critics. The discussion first surveys the transition of “lyceum” into “lecture culture” and the shifting values involved. It explores the role of ideas of civic speech, and the influence of the experiments of Scottish educationalists on what many participants in the lyceum saw as its laudable values of liberal neutrality, independence, and civic duty. The second part argues that we can read the American lecture circuit’s obsession with a transatlantic imaginary as a complex, and problematic, means of securing this neutrality. This category of performances embraced key lectures by group—whose rhetoric challenged the meanings of the Anglo-American commons.
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35

Factors affecting pavement performance. Transportation Research Board, National Research Council, 1985.

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36

Tucci, Salvatore, and Maria Carla Calzarossa. Performance Evaluation of Complex Systems : Techniques and Tools: Performance 2002. Tutorial Lectures. Springer London, Limited, 2003.

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37

Brandstetter, Gabriele. Showing Dance. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.49.

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The lecture performance is a format in contemporary dance, established since the 1990s in various pieces by choreographers and performers from different fields. This chapter draws on the history, aesthetics, and theory of the lecture performance from modern dance and the avant-garde to postmodern dance, and discusses examples of contemporary lecture performance, including Xavier Le Roy, Jérôme Bel, Lindy Annis, Martin Nachbar, among others. Starting from current definitions of “performance,” the chapter focuses on questions of the “solo”—the model of showing/demonstrating that is part of the performative and epistemic presentation of the lecture performance—and questions of gesture and movement, and shows the different formats choreographers have developed for the lecture performance. It also traces the question of media and the intersection of art forms, and shows how audiovisual media are integrated in the process of lecturing/performing.
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38

Rainer, Lucia. On the Threshold of Knowing: Lectures and Performances in Art and Academia. Transcript Verlag, 2017.

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39

Strømmen-Bakhtiar, Abbas, Roger Helde, and Elisabeth Suzen, eds. Supplemental Instruction. Volume 2: Student Learning Processes. Waxmann Verlag GmbH, 2021. http://dx.doi.org/10.31244/9783830993254.

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Supplemental Instruction is a program designed to support students in their learning process. The program consists of advanced students supervising new students, where the purpose is to improve students’ performance and reduce the risk of interruption of studies. Supplemental Instruction was established almost 50 years ago and is used today in universities around the world. This book is about student learning processes and Supplemental Instruction, which includes everything from learning activities in SI to developing guidance skills of leaders and more. The book also deals with a comparison of Supplemental Instruction with other group-oriented learning activities, and practical aspects of the programme. The book is aimed at anyone who is concerned about study quality in higher education. The contributors are researchers and lecturers at various universities from several countries. The book is part of a trilogy on Supplemental Instruction, where the themes for the other books are “Digital Technologies” and “Organisation and Leadership”. The editors of the trilogy are Abbas Strømmen-Bakhtiar, Roger Helde and Elisabeth Suzen, all three Associate Professors at Nord University, Norway.
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40

Clutton-Brock, A. Essays on Art. Independently Published, 2021.

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41

Clutton-Brock, A. Essays on Art. Independently Published, 2021.

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42

Clutton-Brock, A. Essays on Art. tredition Verlag, 2011.

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43

Clutton-Brock, A. Essays on Art. IndyPublish.com, 2005.

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44

Clutton-Brock, A. Essays on Art. IndyPublish.com, 2005.

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45

Clutton-Brock, A. Essays on Art. Independently Published, 2020.

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46

Clutton-Brock, A. Essays on Art. Independently Published, 2021.

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47

Clutton-Brock, A. Essays on Art (Routledge Revivals). Taylor & Francis Group, 2014.

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48

Strømmen-Bakhtiar, Abbas, Roger Helde, and Elisabeth Suzen, eds. Supplemental Instruction. Volume 3: Organisation and Leadership. Waxmann Verlag GmbH, 2021. http://dx.doi.org/10.31244/9783830993261.

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Supplemental Instruction is a program designed to support students in their learning process. The program consists of advanced students supervising new students, where the purpose is to improve students’ performance and reduce the risk of interruption of studies. Supplemental Instruction was established almost 50 years ago and is used today in universities around the world. This book examines different aspects of SI in organizations and leadership, including surveys of Supplemental Instruction programs in Europe, how SI sessions should be organized, the degree to which SI improves retention rates and exam results, SI and learning leadership and leadership development, benefits of being a member of an SI team and employability, SI implementation in healthcare education and virtual students’ attitudes towards SI online. The book is aimed at anyone who is concerned about study quality in higher education. The contributors are researchers and lecturers at various universities from several countries. The book is part of a trilogy on Supplemental Instruction, where the themes for the other books are “Digital Technologies” and “Student Learning Processes”. The editors of the trilogy are Abbas Strømmen-Bakhtiar, Roger Helde and Elisabeth Suzen, all three Associate Professors at Nord University, Norway.
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49

Gelenbe, Erol, and Maria Carla Calzarossa. Performance Tools and Applications to Networked Systems: Revised Tutorial Lectures. Springer London, Limited, 2004.

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50

Asphalt Mixtures and Performance (Transportation Research Record, 968) (Photocopy Ed.). Transportation Research Board, 1985.

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