Relevant bibliographies by topics / Theater Theater Cold War

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

Academic literature on the topic 'Theater Theater Cold War'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Theater Theater Cold War"

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ashton, nigel j. "Cold War Political Theater." Diplomatic History 33, no. 3 (June 2009): 535–38. http://dx.doi.org/10.1111/j.1467-7709.2009.00789.x.

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Kosstrin, Hannah. "Whose Jewishness? Inbal Dance Theater and Cold War American Spectatorship." American Jewish History 104, no. 1 (2020): 31–58. http://dx.doi.org/10.1353/ajh.2020.0013.

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Young, Oran R. "Governing the Arctic: From Cold War Theater to Mosaic of Cooperation." Global Governance: A Review of Multilateralism and International Organizations 11, no. 1 (August 3, 2005): 9–15. http://dx.doi.org/10.1163/19426720-01101002.

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Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (January 1989): 1–22. http://dx.doi.org/10.1086/385923.

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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering enveloping the act of regicide in 1649. What is the relationship between the theatrical tradition and the execution of Charles I?Even though historians frequently comment on the “tragic” nature of the execution of Charles I, thus far neither historian nor literary person has bothered to examine the immediate and popular reactions to the act of regicide. This is understandable. An odd mix of imaginative projection and verifiable fact enshrines the execution of Charles, and documentation is admittedly difficult. The available assortment of primary literature, however, indicates that many Englishmen responded to the execution as theater, more specifically, the dramatic genre of tragedy. A 1649 sermon (attributed to the Royalist Robert Brown) exemplifies both the tragic response to the act of regicide and the mid-century employment of the theatrical tradition: Brown describes the execution as “the first act of that tragicall woe which is to be presented upon the Theater of this Kingdome, likely to continue longer then the now living Spectators.”
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Jakovljevic, Branislav. "Theater of Atrocities: Toward a Disreality Principle." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1813–19. http://dx.doi.org/10.1632/pmla.2009.124.5.1813.

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In October 1992, the united nations security council requested the secretary-general to appoint an impartial commission to examine and record the atrocities committed in the wars in the former Yugoslavia. Two years later, this commission produced its final report. Some of the goriest pages in this catalogue of infamy are dedicated to the explosion on the Markale open-air market in central Sarajevo that took place around noon on Saturday, 5 February 1994. The report describes it as “the worst attack on civilians during the siege” of Sarajevo, citing that it killed at least 66 persons and wounded 197 (781). This explosion can be said to represent the turning point in the Bosnian war, which by that point had lasted some twenty-two months without any reasonable resolution in sight. David Binder, a New York Times reporter and the author of the most detailed account of this atrocity to date, writes that itprovoked the first engagement of NATO in European hostilities since it was founded four decades earlier and the first involvement of U.S. forces in combat in Europe since the beginning of the Cold War. Within days it also drew Russia into the hapless circle of Balkan problem-solvers, along with a unit of Russian peacekeeping troops—the first entry of Russia into the former Yugoslavia since Joseph Stalin's break-up with Josip Broz Tito in 1948. (70)
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Shcherbinina, Olga I. "LILLIAN HELLMAN AND THE SOVIET THEATER." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 132–41. http://dx.doi.org/10.17072/2073-6681-2021-2-132-141.

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The article examines the contacts of the American playwright Lillian Hellman with the Soviet theatrical world. It focuses on Soviet productions of her plays, recollections of actors involved in those productions, critics’ reviews of the premieres. Hellman’s more than 20-year career in the USSR helps to trace back the changes of Soviet cultural and ideological agenda. Acting as a cultural emissary during the Second World War, Hellman visited Moscow where she was greeted as a dear guest, and her plays were staged by two lar­gest Moscow theaters. With the beginning of the Cold War, her dramas The Little Foxes and Watch on the Rhine disappeared from the repertoire. Surprisingly, Hellman’s play with a conspicuously Western title Ladies and Gentlemen circumvented theatrical censorship amid an anti-American propaganda campaign, although the production received negative reviews from magazine critics. In the 1960s Hellman returns to Moscow again, where she meets Raisa Orlova and Lev Kopelev. Cultural and political landscape of that period was deeply influenced by struggles of the dissident movement, which Hellman deeply sympathized with. She considered Kopelev and Orlova to be people of remarkable courage and integrity since they refused to leave their native Russia despite the risk of being imprisoned and persecuted. That is why the case of Anatoly Kuznetsov who fled to the UK from the USSR infuriated Hellman who publicly disapproved his decision to flee. Hellman wrote and spoke about dissidents back at home in the United States, and she continued to correspond with Orlova almost until her death in 1984. Thus, Hellman’s creative biography represents the trajectory of defecting from the ranks of Soviet sympathizers: starting her career as a pro-Stalinist, she subsequently refused to support Soviet socialism.
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Yudin, Kirill. "Cinema politics and ideology of the USA during the Cold War." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-1 (December 1, 2020): 84–97. http://dx.doi.org/10.31166/voprosyistorii202012statyi07.

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The article analyzes the specifics of American ideology and cultural space, its influence on the activities of state and public institutions, the position of representatives of the theater and cinema corporation in the United States under conditions of control and censorship, propaganda pressure. Conclusions are drawn about the consequences of forced segregation of filmmakers into «friends» and «strangers» - the need to adapt in an atmosphere of «cold» information and ideological challenges, the examination of media-texts (films) and their images for political reliability. The ambiguity and inconsistency of cinema policy, allowing the realization of opportunities for legal cooperation and interaction with the opposition, is shown.
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Odom, William E. "The Cold War Origins of the U.S. Central Command." Journal of Cold War Studies 8, no. 2 (January 2006): 52–82. http://dx.doi.org/10.1162/jcws.2006.8.2.52.

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During the Carter administration the Middle East and Southwest Asia became a third major theater in the Cold War struggle along with Europe and the Far East. Initially, President Jimmy Carter tried to remove this region from the Cold War competition, but the collapse of the shah's regime in Iran prompted Carter to reverse course and to build a “Persian Gulf security framework” that later allowed the United States to deal with three wars and many smaller clashes. The interagency process implementing this dramatic change was rent with clashes of departmental interests. The State Department and the military services resisted the structural changes they would later need to confront not only the Soviet threat but also intraregional conflicts. Moreover, the Reagan administration, after forcing the Joint Chiefs of Staff to make the Central Command formal, actually slowed the process of its growth, leaving it far from ready to embark on the Gulf War in 1990–1991.
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Iacob, Bogdan C., Corina Doboș, Raluca Grosescu, Viviana Iacob, and Vlad Pașca. "State Socialist Experts in Transnational Perspective. East European Circulation of Knowledge during the Cold War (1950s–1980s): Introduction to the Thematic Issue." East Central Europe 45, no. 2-3 (November 29, 2018): 145–59. http://dx.doi.org/10.1163/18763308-04502006.

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State socialist experts were at the center of Eastern Europe’s internationalization from the mid-1950s until 1989. They acted as intermediaries between their states and other national, regional, and international environments. The contributions integrate national milieus within broader frameworks mostly circumscribed by inter- and nongovernmental specialized organizations (the United Nations Economic Commission for Europe; the United Nations Educational, Scientific and Cultural Organization; International Theater Institute, or the un Commission on Population and Development). The issue is an innovative initiative to identify within four fields (economy, demography, theatre, and historical studies) state socialist experts’ contributions to international debates and institution building. We argue that these groups were fundamentally characterized by their transnational dynamism. The resultant forms of mobility and transfer resituate specific systems of knowledge production from Eastern Europe within the larger story of postwar globalization. The collection also includes an anthropological study about the internationalization trajectories of lower-ranked professionals and the resilience of their expertise ethics after 1989. Socialist experts’ mobilities can be circumscribed at the intersection of multiple phenomena that defined the postwar: national settings’ impact on inter- and supra-state interactions; Cold War politics; the tribulations of international organizations; and global trends determined by the accelerating interconnectedness of the world and decolonization. Our findings de-center established narratives about the Cold War and they show how representatives from the East participated in and sometimes determined the conditions of Europeanizing and globalizing trends in their respective fields within particular organizations.
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Armstrong, Charles K. "The Cultural Cold War in Korea, 1945–1950." Journal of Asian Studies 62, no. 1 (February 2003): 71–99. http://dx.doi.org/10.2307/3096136.

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By definition, the cold war was understood on both sides of the conflict to be a global struggle that stopped short of direct military engagement between the superpowers (the U.S. and the USSR). In Europe, the putative center ofthat struggle, the geopolitical battle lines were fixed after the early 1950s, or they at least could not be altered by normal military means without provoking World War III—which would result in mutual annihilation. Therefore, each side hoped to make gains over the other by using more subtle, political, and often clandestine methods, winning the “hearts and minds” of people in the other bloc (as well as maintaining potentially wayward support in one's own bloc), hoping to subvert the other side from within. The cold war was an enormous campaign of propaganda and psychological warfare on both sides. A vast range of cultural resources, from propaganda posters and radio broadcasts to sophisticated literary magazines, jazz bands, ballet troupes, and symphony orchestras, were weapons in what has recently come to be called the “Cultural Cold War” (Saunders 1999). Studies of the cultural cold war have proliferated since the late 1990s, most of which focus on U.S. cultural policy and are concerned with the European “theater” of this conflict (Hixson 1997; Fehrenbach and Poiger 2000; Poiger 2000; Berghahn 2001).
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Dissertations / Theses on the topic "Theater Theater Cold War"

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Eschen, Nicole Marie. "Performing the past theatrical revisions of Cold War culture /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679292491&sid=12&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Hwang, Seunghyun. "Remaking the American Family:Asian Americans on Broadway during the Cold War Era." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1403302910.

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Shapiro, Ann Katherine. "In defiance of censorship : an exploration of dissident theatre in Cold War Poland, Czechoslovakia, and the German Democratic Republic." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7005/.

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This thesis explores dissident theatre in East Central Europe during the second half of the Cold War (1964-1989). Contextualised within the discussion of individual theatrical and performance cultures and practices in Poland, Czechoslovakia, and The German Democratic Republic, it examines how theatre was used to subvert the dominant ideologies and dissent from the status quos in these countries. It establishes a framework that addresses the divergences between Anglo-American political theatre and Eastern Bloc dissident theatre, and discusses the necessity of considering the work of subcultural and subversive artists when analysing work of this kind. The core chapters discuss the theatrical and dramatic techniques, and the intention of the artists with regards to the work itself and to audience interpretation and response in the plays and performances of Václav Havel (Czechoslovakia), Theatre of the Eighth Day (Poland) and Autoperforationsartisten (East Germany). Further, these chapters demonstrate the significant differences in the ways dissident theatre and performance was conceptualised and staged. This thesis also analyses similarities in the theoretical and philosophical motivations for the work of the artists, and the development of ‘second’ or ‘parallel’ societies as a result of the performances.
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Evans, Christine. "Art, war, and objects : reality effects in the contemporary theatre." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318314.

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Tisdale, Michael. "...among other things." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5662.

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Röder, Levin D. "Theater der Schrift." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2008. http://dx.doi.org/10.18452/15800.

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Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«.
Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.
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Botham, Paola A. "Redefining political theatre in post Cold-War Britain (1990-2005) : an analysis of contemporary British political plays." Thesis, Coventry University, 2009. http://curve.coventry.ac.uk/open/items/f87298f3-39f6-86d2-9d5f-618aeb1e9eb8/1.

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After the end of the Cold War had signalled for many the demise of political theatre, a re-emergence of British political plays since the turn of the century has become an acknowledged phenomenon. Customary definitions of this cultural practice, however, have become historically and theoretically obsolete. An alternative philosophical framework is needed which breaks with both the unrealistic expectations of the traditional Left and the defeatist limitations of postmodernist positions. This thesis aims to provide a revised definition of political theatre based on the ideas of Jürgen Habermas. The development of his philosophical project is described together with its refinement as the result of interjections by other thinkers from within the neo-Marxist tradition of Critical Theory, in particular feminist contributors. In addition to exploring key concepts such as the reconstruction of historical materialism, the paradigm of discourse ethics and the model of post avant-garde political art, greater focus is placed on the notion of the public sphere, which has special relevance when examining the contemporary dynamics of political theatre.
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Lovell, Neal T. "Theater level operations other than war modeling : applications of decision making theory." Thesis, Monterey, California. Naval Postgraduate School, 1994. http://hdl.handle.net/10945/28601.

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This paper presents an automated model for generating courses of action in support of an Operations Other Than War (OOTW) simulation. The model simulates the decision making of a theater level staff in the OOTW humanitarian assistance mission environment. The model uses probabilistic forecasting models and Bayesian techniques to predict what the state of a region in the theater will be some time in the future. Decision tree structures and the forecasting module are used to solve the decision making problem using expected utility. The model uses pairwise comparisons of utility attributes to obtain a decision maker's preference structure, This structure is applied over a multi-attribute utility function and the decision tree. to find the optimal course of action for some region of the theater at a specific time. Some variations on Lanchester's attrition equations are used to model attrition, the effect of civilians in a combat zone, and the effect of rules of engagement. The model was tested using data representative of Somalia in late 1992. The results indicated the best approach in this instance is to initially provide a high level of aid to reduce the civilian starvation rates then transition to a more aggressive posture with a strong force in readiness to retaliate for attacks by opposing forces
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Fahey, Joseph Francis. "Rethinking the wasteland : Cold War history, theatre scholarship, and the challenges posed by the live television drama of the Fifties /." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1165341753.

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Potter, George E. "Global Politics and (Trans)National Arts: Staging the “War on Terror” in New York, London, and Cairo." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1313427243.

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Books on the topic "Theater Theater Cold War"

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Cold War theatre. London: Routledge, 1992.

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Theatres of war: French committed theatre from the Second World War to the Cold War. Exeter: University of Exeter Press, 1998.

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Meyer-Braun, Renate. Löcher im Eisernen Vorhang: Theateraustausch zwischen Bremen und Rostock während des Kalten Krieges (1956-1961) : ein Stück deutsch-deutscher Nachkriegsgeschichte. Berlin: Trafo, 2007.

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American theater in the culture of the Cold War: Producing and contesting containment, 1947-1962. Iowa City: University of Iowa Press, 2003.

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Corporation, Rand, and United States Army, eds. NATO's future conventional defense strategy in Central Europe: Theater employment doctrine for the post-Cold War era. Santa Monica, CA: Rand, 1991.

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Davis, Tracy C. Stages of emergency: Cold War nuclear civil defense. Durham, NC: Duke University Press, 2008.

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Balme, Christopher B., and Berenika Szymanski-Düll, eds. Theatre, Globalization and the Cold War. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8.

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Theater of war. New York: New Press, 2002.

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Allen, Patrick D. Secondary land theater model. Santa Monica, CA: Rand, 1987.

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Nicoletti, Susi. Nicht alles war Theater: Erinnerungen. München: List, 1997.

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Book chapters on the topic "Theater Theater Cold War"

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Bell, John. "Beyond the Cold War: Bread and Puppet Theater at the End of the Century." In American Puppet Modernism, 189–218. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613768_11.

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Jenkins, Philip. "Asian Theaters." In A Global History of the Cold War, 1945-1991, 73–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81366-6_5.

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Braun, Juliane. "Theater of War." In American Cultures as Transnational Performance, 161–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003048947-11.

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Fayard, Nicole. "Shakespeare’s Theatre of War in 1960s France." In Shakespeare in Cold War Europe, 63–74. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51974-0_6.

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Smith, James. "MI5 Surveillance of British Cold War Theatre." In Theatre, Globalization and the Cold War, 133–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_8.

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Balme, Christopher B., and Berenika Szymanski-Düll. "Introduction." In Theatre, Globalization and the Cold War, 1–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_1.

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Kunakhovich, Kyrill. "The Cultural Cold War on the Home Front: The Political Role of Theatres in Communist Kraków and Leipzig." In Theatre, Globalization and the Cold War, 165–86. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_10.

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Prykowska-Michalak, Karolina. "Years of Compromise and Political Servility—Kantor and Grotowski during the Cold War." In Theatre, Globalization and the Cold War, 189–205. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_11.

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Szeman, Ioana. "‘A Memorable French-Romanian Evening’: Nationalism and the Cold War at the Theatre of Nations Festival." In Theatre, Globalization and the Cold War, 207–21. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_12.

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Papadogiannis, Nikolaos. "An Eastern Bloc Cultural Figure? Brecht’s Reception by Young Left-wingers in Greece in the 1970s." In Theatre, Globalization and the Cold War, 223–38. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48084-8_13.

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Conference papers on the topic "Theater Theater Cold War"

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Shi, Donghui, Jozef Zurada, Waldemar Karwowski, and Jian Guan. "Data Stream Models for Predicting Adverse Events in a War Theater." In Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2019. http://dx.doi.org/10.24251/hicss.2019.142.

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Bolling, Robert H. "The joint theater level simulation in military operations other than war." In the 27th conference. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/224401.224785.

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Woodward, Jay, and Michelle Kwok. "CREATING A VIRTUAL STUDY ABROAD EXPERIENCE TO RUSSIA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end141.

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COVID-19 has drastically altered our world. Though travel is halted, global education does not have to stop. We used this time to reconceive the notion of study abroad and designed a study abroad program that could be facilitated virtually and enhanced with face-to-face classroom interaction. We were inspired to embark on this journey for several reasons. First, the realities of the pandemic create risks associated with international travel. Second, international experiences need to be more accessible–more students should be able to participate in global education, even if they do not have the means or ability to do so. We present our design considerations in building and implementing this virtual study abroad program. As part of the design, we partnered with VEXA (Virtual Experiences Abroad), a Moscow-based company that built the online interface and facilitated the interactions between our students and Russian citizens, including visits to a Russian Orthodox Church, the Bolshoi Ballet theater, and elementary and middle schools. We also brought elements of Russian culture to life through face-to-face experiences including a live cooking session with a Russian chef, discussions with a Russian Orthodox priest, and a ballet lesson with a company member of the Bolshoi theatre. These types of experiences facilitated group discussions and social interaction opportunities, crucial for establishing relationships. Overall, our main goal was to reconceive the traditional notion of study abroad while garnering results that would match the transformational gains that global education provides.
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Quick, Darrell A., and Mark A. Roth. "A development methodology for adding map-based graphics to the theater war exercise." In the 20th conference. New York, New York, USA: ACM Press, 1988. http://dx.doi.org/10.1145/318123.318315.

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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.

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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.
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Novelli, Francesco. "Castle Garth in Newcastle (UK): processes of transformation, integration and discharge of a fortified complex in an urban context." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11548.

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Castle Garth is the name of the fortified area once enclosed within the castle walls. In the fifteenth century Newcastle became a county in its own right, however, the Garth, being within the castle walls, remained part of the County of Northumberland. The Great Hall, a building separate from the Castle Fortress (the “Keep”), which in later years became known as the “Old Moot Hall”, was used by courts that sat at regular intervals in every county of England and Wales. The Fortress then became a prison for the County and was used as such until the early nineteenth century. Beginning in the fifteenth century, unlicensed traders, taking advantage of the fact that the city authorities had no jurisdiction over the Garth area, settled there with their commercial activities. From the time of Charles II (1630-1685), the area then became famous for its tailors and shoemakers, who grew particularly abundantly on the path known as “Castle Stairs”. In 1619 the fortified complex was rented by James I to the courtier Alexander Stephenson, who allowed the civilian houses to be built inside the castle walls. After the civil war, new houses were added until, towards the end of the eighteenth century, Castle Garth had become a distinct and densely populated community, with a theater, public houses and lodgings. The main urban transformations were started in the early nineteenth century with the construction of the new Moot Hall called County Court. From 1847 to 1849 the fortified enclosure was partially compromised by further intersections with the infrastructure for the construction of the railway viaduct, thus interrupting direct access from the Castle guarding the Black Gate. Despite the development of the contemporary city has affected the preservation of the ancient fortified palimpsest, a strong consolidated link is still maintained by the sedimentation of values ​​of material and immaterial culture. The proposed contribution intends to present this process of integration between fortified structure and city highlighting today the state of the art, the conservation, restoration and enhancement initiatives undertaken in the last forty years.
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Colberg Poley, Celeste, and Balakumar Balachandran. "Motion Analysis of Robot Arm for Obstacle Avoidance." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-71010.

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In the previous work of the authors, a modified version of Rapidly exploring Randomized Trees (RRT) algorithm was used to study trajectories of end effectors of multi-link robotic systems. They showed how constraints could be used for better trajectory control. The overall aim of the prior work and the current study is to develop path-planning algorithms that can be used for robots in surgical environments. The authors have picked the KUKA DLR LWR IV+, a seven link, 7 Degree of Freedom (DOF) system, as a representative system for their studies. In the current study, as an initial step, obstacle avoidance has been examined for systems with low number of degrees of freedom (DOF). The goal of using obstacle avoidance is to navigate to representative anatomical body parts such as veins or bones. The authors have explored motions of multi-link robotic systems, by combining the RRT algorithm with Obstacle Avoidance. The modified path-planning algorithm is expected to yield smooth trajectories, which can be followed to expertly navigate delicate anatomical obstacles between initial and goal states. This is facilitated through the construction of constraints that can capture the difficulties encountered during minimally invasive and laparo-scopic surgical procedures. These constraints, which have been formulated based on discussions with multiple surgeons, are utilized for planning the movement of the system. The motion simulations are intended to better represent the confining environment of the human body during surgical procedures, in particular, such as those involved in cochlear implantation. It will be discussed as to how well the formulated constraints help in the realizing paths for the robot end effectors. Given the manner in which the motion-planning algorithm has been constructed with information from the operating theatre, it is expected that this planning algorithm will be uniquely suited for the surgical environment.
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Reports on the topic "Theater Theater Cold War"

1

Weaver, Brett H. War Termination: A Theater CINCs Responsibility. Fort Belvoir, VA: Defense Technical Information Center, January 1997. http://dx.doi.org/10.21236/ada442789.

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Davis, Michael H. Apache Force Structure for a Two Major Theater War Strategy. Fort Belvoir, VA: Defense Technical Information Center, April 1998. http://dx.doi.org/10.21236/ada345712.

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Wall, Alan R. Theater Missile Defense in World War II - Some Operational Art Considerations. Fort Belvoir, VA: Defense Technical Information Center, February 1999. http://dx.doi.org/10.21236/ada363065.

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Ryan, Michael A. Exploiting Peace Operations to Reduce Risk in the Second Major Theater War. Fort Belvoir, VA: Defense Technical Information Center, March 2001. http://dx.doi.org/10.21236/ada394273.

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Christie, R. A. The United States' Second Major Theater of War: A Bridge Too Far? Fort Belvoir, VA: Defense Technical Information Center, January 2000. http://dx.doi.org/10.21236/ada432180.

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Smith, Tyler C., Thomas E. Corbeil, Margaret A. Ryan, Jack M. Heller, and Gregory C. Gray. In-Theater Hospitalizations of US and Allied Personnel During the Gulf War. Fort Belvoir, VA: Defense Technical Information Center, January 2004. http://dx.doi.org/10.21236/ada430180.

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Sellers, Priscilla. Incorporation of Indigenous Forces in Major Theater War: Advantages, Risks and Considerations. Fort Belvoir, VA: Defense Technical Information Center, May 2004. http://dx.doi.org/10.21236/ada423740.

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Woods, John D. Joint Air Operations Integration of MAGTF Aviation into the Theater Air War. Fort Belvoir, VA: Defense Technical Information Center, April 1994. http://dx.doi.org/10.21236/ada280625.

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Campbell, Charlotte H., Roy C. Campbell, Laura A. Ford, David M. Pratt, and Daniel e. Deter. The COBRAS Synthetic Theater of War Exercise Trial: Summary and Report of Findings. Fort Belvoir, VA: Defense Technical Information Center, December 1998. http://dx.doi.org/10.21236/ada359935.

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Partan, Matthew A. Soviet Assessments of the Theater Balance of Forces: A Case Study of the Beginning Period of War. Fort Belvoir, VA: Defense Technical Information Center, December 1986. http://dx.doi.org/10.21236/ada269702.

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