Relevant bibliographies by topics / Spectator’s place

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Spectator’s place'

Author: Grafiati
Published: 22 June 2024
Last updated: 31 July 2025

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Journal articles on the topic "Spectator’s place"

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Christoffersen, Erik Exe. "Intermedial Performance and the vertical perspective." Peripeti 14, S6 (2017): 23–30. http://dx.doi.org/10.7146/peri.v14is6.110658.

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 Why Does Night Come Mother can be considered as a focus change or paradigm shift in relation to intermedial performing arts. The performance re-inscribes reality in the participatory process that takes place in the body of the consciousness of the spectator. At the same time the performance is a staged construction with an audience taking part. The performance destabilizes the balance of the spectator’s sense of vision.
 
 
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Shmatova, G. A. "“Open space”: The spectator’s place in contemporary theatre communications." Shagi / Steps 3, no. 3 (2017): 97–107. http://dx.doi.org/10.22394/2412-9410-2017-3-3-97-107.

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Klobukova (Golubinskaya), N. F. "At the Crossroads of Cultures: A Story of Two Performances." Russian Japanology Review 5, no. 2 (2023): 95–115. http://dx.doi.org/10.55105/2658-6444-2022-2-95-115.

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The article describes two theater performances: the first took place in the Chinese Theater of Tsarskoye Selo in the summer of 1803, and the second one (or, rather a series of guest performances) – a hundred years later, in 1902, in Moscow and Saint Petersburg. The first performance was shown for Emperor Alexander I and his guests including the Japanese sailors who were leaving for their motherland with Ivan F. Kruzenshtern’s global circumnavigation. The description of the performance the Japanese sailors left became part of the manuscript Kankai Ibun (“Surprising Information about the Seas Su
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Stańczyk, Marta. "Liberté, égalité, sororité. Kobiece gatunki cielesne i francuskie „ekstremistki”." Literatura i Kultura Popularna 24 (April 18, 2019): 97–112. http://dx.doi.org/10.19195/0867-7441.24.8.

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Liberté, Égalité, Sororité: Female body genres and the women of the New French ExtremityIn the essay Film Bodies: Gender, Genre, and Excess, Linda Williams coins the concept of body genres. These genres include melodrama, horror and porn, which are linked through their impact on the spectator’s body and intensifying viewing experiences. According to Williams, these three film genres emphasize the notion of spectacle, but they place the female body in its centre. The female body is moving and is being moved, which causes its vulnerability to the hegemony of the male gaze. But we can conduct res
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Staniškytė, Jurgita. "Reinstalling the Fourth Wall: Digital Performance and Spectatorship in (Post-)Pandemic Era." Art History & Criticism 19, no. 1 (2023): 31–38. http://dx.doi.org/10.2478/mik-2023-0003.

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Summary Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of
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Davydova, Olga S., and Larisa E. Muravieva. "The spectator’s anxiety in film narrative: Notes on films by Bertrand Bonello." Media Linguistics 9, no. 1 (2022): 64–76. http://dx.doi.org/10.21638/spbu22.2022.105.

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The representation of emotions and affects in cinematic narrative can participate in the construction of narration in the same way as the representation of events. Anxiety as one of the “expectant emotions” (E. Bloch) is of particular interest in this regard. By anxiety in the narrative, we mean any zone of uncertainty associated both with the field of the narrator or participant in the world of history, and with the field of the viewer. It is interesting in this regard to consider cases when anxiety ceases to be related to a specific character and is created at the intersection of the event-r
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Yeung, Lorraine. "The Nature of Horror Reconsidered." International Philosophical Quarterly 58, no. 2 (2018): 125–38. http://dx.doi.org/10.5840/ipq2018326104.

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There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices and stylistic elements deployed in narrative horror a proper place
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Sofer, Andrew. "Catastrophe Practices and the Ontological Gambit: Nicholas Mosley’s Plays for Not Acting." Theatre Journal 75, no. 4 (2023): 455–67. http://dx.doi.org/10.1353/tj.2023.a922216.

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Abstract: This article explores three experimental closet dramas by British writer Nicholas Mosley, part of the novel Catastrophe Practice (1979), which deserve wider recognition in the context of theatre studies’ current focus on catastrophe and futurity. Mosley’s enigmatic “Plays for Not Acting” promote a leap in consciousness, fostering fresh mental patterns to invigorate humanity. This evolutionary leap, which can be practiced for, is akin to a catastrophe as defined by catastrophe theory: a sudden rupture in a seemingly steady state system. Departing from assigned roles, Mosley’s neo-Brec
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Silva, Carlos Nogueira da. "O objecto estético como mundo, na phénoménologie de l’expérience esthétique i, de mikel dufrenne." Phainomenon 3, no. 1 (2001): 57–66. http://dx.doi.org/10.2478/phainomenon-2001-0010.

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Abstract With this article we intend to explore the concept of «esthetical object» proposed in Dufrenne’s text entitled La Phénoménologie de l’experience estéthique I. The potentiality/activity binomial appears as the ground for Dufrenne’s definition of esthetical object as perceived work of art. According to this, the happening of any artwork truly finds its proper place in esthetical experience, which arises as the meeting point of art’s expressive potentiality and the spectator’s perception act. Establishing an accurate distinction between esthetical perception and other kinds of human perc
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Boczkowska, Kornelia. "The Homely Sublime in Space Science Documentary Films: Domesticating the Feeling of Homelessness in Carl Sagan’s Cosmos and its Sequel." Kultura Popularna 4, no. 54 (2018): 24–35. http://dx.doi.org/10.5604/01.3001.0011.6717.

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The paper discusses the ways of domesticating the feeling of sublime homelessness when contemplating the realm of outer space in Carl Sagan’s revolutionary television series Cosmos: A Personal Voyage (1980) and its present-day sequel Cosmos: A Spacetime Odyssey (2014) hosted by Neil deGrasse Tyson. Following World War II, a novel trend emerged in the science documentary film fueled by “popular science boom” or the “post-war bonanza” (Gregory and Miller, 37) and characterized by a gradual tendency to move toward more complicated representational extremes. Its form, best exemplified by the late
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Dissertations / Theses on the topic "Spectator’s place"

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Lauraire, Héloïse. "Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.

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Entre le début des années 2000 et celui des années 2010, quatre artistes contemporains occidentaux Christoph Büchel, Mike Nelson, Jonah Freeman et Justin Lowe construisent en Europe et aux États-Unis de gigantesques et énigmatiques installations multi-pièces. Notre hypothèse initiale était qu’il existait des relations entre les super-productions labyrinthiques de ces artistes, tant du côté de leurs conceptions que de celui de leurs réceptions. Notre étude s’attache à décrire et analyser les spécificités (construction, accueil du public, thèmes et références …) et les enjeux (exploration, élabo
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CATALANO, ANA ROSA SARAIVA. "THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409@1.

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O objetivo desta dissertação é analisar a relação entre a obra de arte, o artista e o espectador a partir da produção de Lygia Clark e Hélio Oiticica. Esses dois artistas foram escolhidos como objeto de estudo por terem direcionado sua pesquisa no sentido de incluir o espectador como agente modificador e até mesmo criador da obra de arte. Ambos são reconhecidos por propor novas questões a respeito ocupação do espaço real pela obra de arte e pela busca da libertação da bidimensionalidade da tela e da moldura. Esta pesquisa se baseia na idéia de que os dois pintores se tornaram referência
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Besson, Roger. "Les lieux de l'interaction : fréquentation du stade et intégration sociale à Neuchâtel." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1017.

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Au cours du mois de février 2007, Neuchâtel célèbre l’inauguration d’un stade de football flambant neuf. Pour le club de Neuchâtel Xamax, qui fait face à des difficultés économiques chroniques, cette infrastructure laisse miroiter un avenir prometteur. On vante alors sans retenue le plus grand confort de la nouvelle enceinte que l’on décrit comme un lieu convivial et propice à la rencontre, sensé attirer un public toujours plus nombreux pour de longs après‐midis festifs consacrés au spectacle du football. Analyser l’impact social réel de la modernisation de ce type d’infrastructure s’apparente
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Wang, Gang. "CORRELATIONS RELATIVE TO THE REACTION PLANE AT THE RELATIVISTIC HEAVY ION COLLIDER BASED ON TRANSVERSE DEFLECTION OF SPECTATOR NEUTRONS." Kent State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=kent1144770985.

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"The place of the participating spectator in lygia clarks and hélio oiticicas work." Tese, MAXWELL, 2004. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=6409:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.

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Books on the topic "Spectator’s place"

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Canter, David V. Football in its place: An environmental psychology of football grounds. Routledge, 1989.

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Sen, Amartya. Our Obligation to Future Generations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198825067.003.0007.

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Our reasoned sense of obligations to others can arise from at least three possible sources: cooperation, having caused harm, and effective power to improve suffering. The last source, this chapter argues, is particularly important in considering our obligations to future generations. It draws on a line of reasoning that takes us well beyond contractarian motivations to the idea of the “impartial spectator” as developed by Adam Smith. The interests of future generations come into the story because they are important in our attempt to be impartial spectators. The obligation of power contrasts wi
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Harris, Joanne. Place in the Sun/Al and Christine's World of Leather/the Spectator (Storycuts). Transworld Publishers Limited, 2011.

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Doane, Mary Ann. Bigger Than Life. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021780.

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In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation. Doane traces the history of scalar transformations from early cinema to the contemporary use of digital technology. In the early years of cinema, audiences regarded the monumental close-up, particularly of the face, as grotesque and often horrifying, even as it sought to expose a character's interiority through its magnification of detail and expression. Today, large-scale technologies such as IMAX and
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Bontemps, Arna. Recreation and Sports. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0021.

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This chapter describes Negro recreation and sports in Illinois in the late nineteenth and early twentieth centuries. In 1847, a ten-mile foot race in Chicago was witnessed by more than 1,000 spectators. The event was won by a Canadian. Nine years later, a Negro represented Cook County at the Alton Convention of Colored Citizens of Illinois. In 1854, a skating match took place on the canal at Elmira between Patrick Brown and George Tate, a colored man. In 1874, the Chicago Evening Journal announced that “the Napoleons, a colored baseball club of St. Louis, are coming to this city to play the Un
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Schliesser, Eric. Philosophy of Science. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690120.003.0011.

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This chapter articulates Adam Smith’s philosophy of science. The first section emphasizes the significance of Smith’s social conception of science—science takes place, not always comfortably, within a larger society and is itself a social enterprise in which our emotions play a crucial role. Even so, in Smith’s view science ultimately is a reason-giving enterprise, akin to how he understands the role of the impartial spectator. The second and third sections explain Smith’s attitude to theorizing and its relationship, if any, to Humean skepticism. Smith distinguishes between theory acceptance a
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Slocum, Karla. Black Towns, Black Futures. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653976.001.0001.

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Some know Oklahoma’s Black towns as historic communities that thrived during the Jim Crow era—this is only part of the story. In this book, Karla Slocum shows that the appeal of these towns is more than their past. Drawing on interviews and observations of town life spanning several years, Slocum reveals that people from diverse backgrounds are still attracted to the communities because of the towns’ remarkable history as well as their racial identity and rurality. But that attraction cuts both ways. Tourists visit to see living examples of Black success in America, while informal predatory le
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Bailey, Doug. Cutting Skin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190611873.003.0002.

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This chapter provides a detailed description, discussion, and interpretation of the performance artist Ron Athey’s 1994 show 4 Scenes in a Harsh Life, and the controversy that it caused at local, national, and international levels. Discussion places that performance in the contexts of Athey’s other work, and the broader practice of performance art of the body, and then argues for the relevance of the Athey work for understanding the Neolithic pit-houses at Neolithic Măgura. Primary articulations of relevance are the previously under-represented role of the digger-as-performer, of the audience-
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Valls-Russell, Janice, and Katherine Heavey, eds. Shakespeare’s Classical Mythology: A Dictionary. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350125902.

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Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals’ staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today’s audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and
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Koehlinger, Amy. History of Sport and Religion in the United States and Britain. Edited by Robert Edelman and Wayne Wilson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199858910.013.34.

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This chapter surveys scholarly writing about the intersection of religion and sport in the United States and Britain. It reviews the dominant historiography of works on religion and athletics, arguing that historians have focused primarily on clergy within Protestant traditions and the question of whether specific sports were considered licit or illicit in different places and times. This perspective occludes consideration of Catholic and other religions, the historical importance of bloodsport, and the informal nature of the interrelationship of religion and sport in daily life. The chapter a
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Book chapters on the topic "Spectator’s place"

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Canter, David, Miriam Comber, and David L. Uzzell. "Spectators' Views." In Football in its Place. Routledge, 2024. http://dx.doi.org/10.4324/9781003482574-2.

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Hill, Shonagh. "Feeling Out of Place: The ‘Affective Dissonance’ of the Feminist Spectator in The Boys of Foley Street." In Performance, Feminism and Affect in Neoliberal Times. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59810-3_21.

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Marandola, Fabrice, Myriam Boucher, and Dominic Thibault. "48. Polytope XXI." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.50.

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Polytope XXI is the title of a concert presented by Montreal-based percussion sextet Sixtrum to pay tribute to Iannis Xenakis. It is also the name that composers Myriam Boucher and Dominic Thibault have given to their monumental instrumental project that was premiered during this concert in May 2022: a sort of giant, electronically augmented, audio-luminescent harp, whose strings are put in vibration by multiple means by the percussionists of Sixtrum during the concert. The project was inspired by the first Polytope imagined by Iannis Xenakis, an ‘electronic sculpture combining light, music, a
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Azeb, Sophia. "Palestine Made Flesh." In The Funambulist Papers, Volume 2. punctum books, 2015. https://doi.org/10.21983/p3.0098.1.06.

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In a 1998 opinion piece for Egyptian weekly Al Ahram, Edward Said memorably skewered Yasser Arafat’s intention to issue his second declaration of Palestinian statehood within a year. Said wrote, “I say [statehood] with some irony because, at first glance, the notion of declaring a state for a second time (Algiers, November 1998 was the first) must strike the untutored spectator as inherently funny, since in both instances, except for about 60 per cent of Gaza, there is very little land for this state.”1 Indeed, Arafat’s poorly thought out decrees for statehood never succeeded, resulting instea
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Lo, Dennis. "Translocalities of Sadness." In The Authorship of Place. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528516.003.0007.

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This chapter explores how Hou Xiaoxian and Jia Zhangke have responded critically and reflexively to the commoditization and neoliberal redevelopment of place by challenging their own notions of authenticity and realism in two iconic shooting locations: Jiufen and Chongqing. By the production of Goodbye South, Goodbye (1996), Jiufen has transformed into what Urry calls a “tourist place,” a nostalgia themed space where film-induced tourism has all but overwhelmed the historical aura so cherished by Hou. I argue that the film’s disruptions of Hou’s realist style are reflexive responses to his own
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Parker, Fred. "Addison’s Modesty, or the Essayist as Spectator." In Joseph Addison. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198814030.003.0009.

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The disengaged position of Mr Spectator, who observes life without participating in it, is related to Addison’s interest in an inexpressive reticence or modesty in language and in manners. How can this valorization of reserve be reconciled with The Spectator’s saturation in the social scene, a scene which is everywhere held up as open to appraisal? Comparison with Adam Smith’s ‘impartial spectator’ in The Theory of Moral Sentiments reveals Addison’s greater emphasis on the function of the imagination, such that the spectatorial viewpoint is often felt as an imagined viewpoint, a place to visit
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Lie, Sulgi. "On Enunciation without an Enunciator: Suture." In Towards a Political Aesthetics of Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462983632_ch02.

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Suture theory overrides the central identification concept of apparatus theory. Instead of the spectator’s primary identification with the camera, there is a primary disidentification between camera and spectator that can only be reconciled secondarily. With Oudart, suture theory can thus be reconstructed as a negative apparatus theory: the camera is an apparatus, but a phantomatic one. But in Daniel Dayan’s influential appropriation of Suture theory, the emptiness of the subject of enunciation is short-circuited with the repressed apparatus of production. Since Dayan’s reading, a false compro
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Strukov, Vlad. "A Plea for the Dead (Self): Renata Litvinova’s Goddess: How I Fell in Love (2004)." In Contemporary Russian Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407649.003.0007.

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The symbolic mode betrays the habit of thinking of mental and sensory events in terms of habitual places (the last is the task of allegorisation): instead it deals with cosmological states. Renata Litvinova’s film forward concerns of intentionality as a matter of discursive interruption and drawing the spectator’s attention to the film’s self-referential strategies. Film as a form of knowledge regains the discourse of the sacred place in that it operates from its own sacred grove of immanence, that is, it alludes to the ‘external world’ by means of the exegetical tradition. Goddess utilises th
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Budick, Sanford. "‘Conversion’ of the ‘Nothing’ by the Instrumentality of The Merchant of Venice." In Hazarding All. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474493154.003.0002.

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In The Merchant of Venice a variety of voices clamour for conversion. Shakespeare shows that the precondition for achieving any genuine conversion is attaining to a standpoint outside one’s erstwhile consciousness. Crucial to the achievement of an onlooking standpoint by the instrumentality of this play is the numbers game of “hazard “that climaxes in the “three” and its variants of “the third.” In the footsteps of other scholars, Michel Foucault explained that the third “turn” or epistrophe is a rhetorical figure for the experience of “conversion.” So, too, in The Merchant of Venice the hazar
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Wollheim, Richard. "Art, Interpretation, and the Creative Process (1984)." In Uncollected Writings, edited by Gary Kemp and Elisabetta Toreno. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780191995767.003.0028.

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Abstract Experts on Wollheim will recognize not only that the argument echoes the slightly earlier ‘Criticism as Retrieval’. The target is what he calls the ‘popular thesis’ of criticism as scrutiny, which has its recognizable precursor in (a certain reading of) Kant but with distinctive modern manifestations in the ‘New Theory’ of literary criticism—especially as intended for art generally as in Wimsatt and Beardsley—and in certain variants of formalism or modernism such as those of Roger Fry or Clement Greenberg. The thesis is simple: that the artistic meaning of a work of art is confined to
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Conference papers on the topic "Spectator’s place"

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Giurescu, Adina. "The aesthetic experience of the contemporary theater audience." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.21.

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The purpose of this work is materialized in our attunement to the perplexities and feelings of the theater audience and, at the same time, we wonder if there are theater creators who have in their subsidiary, when starting a theatrical project, the express desire to excite the audience? The theater performance must retain its individuality gained in the art area, manifesting even its potentialcharacter as a trainer. The atrical creation must be carried out in an exclusively artistic manner, so that the estrangement from professional art is not placed under the sign of obligation when socio-pol
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Olarewaju, Oluseyi, Athanasios V. Kokkinakis, Simon Demediuk, et al. "Automatic Generation of Text for Match Recaps using Esport Caster Commentaries." In 6th International Conference on Computer Science, Engineering And Applications (CSEA 2020). AIRCC Publishing Corporation, 2020. http://dx.doi.org/10.5121/csit.2020.101810.

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Unlike traditional physical sports, Esport games are played using wholly digital platforms. As a consequence, there exists rich data (in-game, audio and video) about the events that take place in matches. These data offer viable linguistic resources for generating comprehensible text descriptions of matches, which could, be used as the basis of novel text-based spectator experiences. We present a study that investigates if users perceive text generated by the NLG system as an accurate recap of highlight moments. We also explore how the text generated supported viewer understanding of highlight
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CONDURACHE, Dumitriana. "A Diverse Beauty: Amore, by Pippo Delbono." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.

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To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our ro
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Stanković, Emilija. "ULOGA TRANSPORTA U SNABDEVANjU RIMA." In XV Majsko savetovanje: Sloboda pružanja usluga i pravna sigurnost. University of Kragujevac, Faculty of Law, 2019. http://dx.doi.org/10.46793/xvmajsko.103s.

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At the time of its establishing, Rome was a city – state with not such a large number of citizens and of restricted territory. Thanks to historical circumstances, as well as to skills and pragmatism of the ancient Romans, the city was soon turned into a powerful empire. During the reign of the Emperor Augustos, Rome became a city with over one million inhabitants and with around hundred public baths and other numerous public buildings and parks, while the Coloseum itself could accommodate 55 000 spectators. All of this attracted people from other places to come to Rome, just for a visit, or to
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Thurston, Leanne. "How Staged Head-On Collisions Changed Public Perception of Railroads." In 2019 Joint Rail Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/jrc2019-1329.

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With any new mode of transportation comes new fears for both the public and those involved in the industry. The advent of the transcontinental railroad was no different. When the transcontinental railroad was complete and trains became more commonplace for travel, the biggest fear became the worst case scenario: a head on collision between two trains. The idea of the head on collision remained the biggest fear of the public because it happened and was based on reality, but was rarely witnessed, which made the idea even more lofty. But with the standardization of time in the 1880’s, there were
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6

Myers, Marie J. "BRIDGING LANGUAGE GAPS OF L2 (SECOND LANGUAGE) TEACHERS BY OPTIMIZING THEIR SELF-AWARENESS." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end112.

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"During a Canada-wide consultation session of teacher trainers for future teachers of French, Canada’s official second language (L2), given the problematic situation of unprepared candidates with questionable mastery of the language, some instructors even retreated to a position stating that these students need to be encouraged although they are struggling with French. What this implies is placing role models in classes with inaccurate French, repeating the same situation if not making it even worse as indeed early French immersion is still the chosen protocol by Canadian non-French speaking p
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7

Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the arti
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8

Onoi, Mihail. "The role of central and local authorities in the Republic of Moldova on the sustainable development of sports tourism." In The International Scientific Congress "Sports. Olimpysm. Health". SOH 2023. 8th Edition. The State University of Physical Education and Sport, 2025. https://doi.org/10.52449/soh23.42.

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Actuality. The tourism sector in the Republic of Moldova is growing in the context of a rather difficult period due to the economic and pandemic crises. This fact is due to the role of central and local authorities on sustainable development policies and strategies that have been and are being implemented for the development of tourism in the Republic of Moldova. Various forms of tourism can be practiced on the territory of the country, which, capitalized and supported by central and local authorities, can become the business card of domestic tourist destinations. One of these forms is sports
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Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.

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The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area cur
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Reports on the topic "Spectator’s place"

1

Commonwealth Bank - Spectators in Martin Place at the opening of the new Head Office - 22 August 1916 (plate 645). Reserve Bank of Australia, 2021. http://dx.doi.org/10.47688/rba_archives_pn-000850.

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