Bibliografías temáticas / Great Britain Community work Organisations Community Projects Foundation Projects

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Literatura académica sobre el tema "Great Britain Community work Organisations Community Projects Foundation Projects"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Great Britain Community work Organisations Community Projects Foundation Projects"

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Płachecki, Jarosław. "Editorial Note [in:] The Irish Polish Society Yearbook, vol. III, 2016." Irish Polish Society Yearbook III, no. 2016 (2016): 11–12. https://doi.org/10.5281/zenodo.13626896.

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This is a special, final edition of the Irish Polish Society Yearbook presented to the reader in an annual format. It contains the summary of IPS activities in the year 2014/2015, IPS documents and correspondence, a Photo Album and a selection of papers in English and in Polish.For the Polish community in Ireland 2015 was the year of a very special occasion, the unveiling of the plaque to Sir Paul Edmund Strzelecki, famous Polish traveller and explorer, whose philanthropy during the Irish Famine had hitherto been almost forgotten. The celebration which took place in Sa
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Zajdband, Astrid. "Starting Anew." European Judaism 54, no. 1 (2021): 45–63. http://dx.doi.org/10.3167/ej.2021.540105.

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In the aftermath of the November pogrom of 1938, thirty thousand Jewish men were arrested and sent to concentration camps. After being released, around one hundred rabbis were able to leave Germany for Great Britain. But escaping Germany was not the end of their personal hardship. Once respected community leaders, rabbis arrived destitute and depended on charitable organisations for their livelihoods. Some would be classified as enemy aliens and faced with internment once again. The refugee rabbis would not to be discouraged, however, and they began, at first just a small circle, to reclaim th
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Manshylin, Oleksandr. "International Projects of Ukrainian Contemporary Dance Groups 2010-2017." Dance Studies 1, no. 2 (2018): 62–68. https://doi.org/10.31866/2616-7646.2.2018.154493.

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The purpose of the research is to trace on the material of several successful examples how the processes of unilateral influence of contemporary Western dance on Ukrainian are gradually transformed into bilateral cooperation. Methodology: historical-chronological method, comparative analysis, critical analysis. Scientific novelty: the art history research on tracing the participation/initiation of Ukrainian dancers in international projects is carrying out for the first time. Conclusions. The period of borrowing as an inevitable stage of the process in relati
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4

"9.D. Practice session: Luton, a Marmot town – Lessons from using a whole-system approach to tackle health equity." European Journal of Public Health 34, Supplement_3 (2024). http://dx.doi.org/10.1093/eurpub/ckae144.557.

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Abstract Objective To share learnings from our Health Equity Town journey, including opportunities and challenges. To allow stimulating discussion on whole system approaches to health inequalities and the social determinants of health. To include discussion on where and how public health influences or leads, the importance of impact measures, and of shared vision. Added value Luton’s 2040 strategy, and being a health equity town, are long term visions. It has been 18 months since we launched Luton’s health equity ambition, and during that time we have taken great strides forward in how we deli
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Hall, Karen, and Patrick Sutczak. "Boots on the Ground: Site-Based Regionality and Creative Practice in the Tasmanian Midlands." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1537.

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IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and h
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Gulliver, Robyn. "The Fossil Fuel Façade." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3120.

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Introduction Our era of urgent climate action is underpinned by a perplexing paradox: a continued reliance on fossil fuels is presented as a solution to the very crisis it perpetuates. We live in a world where this logical inconsistency is normalised and accepted; an artificial fantasy realm where we can have our fossil fuel cake and eat it as well. In this realm, society, business, and government acknowledge the reality of climate change and its cause, yet do little to alleviate it. Instead, they express bi-partisan support for zero emissions targets while expanding fossil fuel projects, and
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Sturm, Ulrike, Denise Beckton, and Donna Lee Brien. "Curation on Campus: An Exhibition Curatorial Experiment for Creative Industries Students." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1000.

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Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this
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Binns, Daniel. "No Free Tickets." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2882.

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Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick t
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Mules, Warwick. "A Remarkable Disappearing Act." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1920.

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Creators and Creation Creation is a troubling word today, because it suggests an impossible act, indeed a miracle: the formation of something out of nothing. Today we no longer believe in miracles, yet we see all around us myriad acts which we routinely define as creative. Here, I am not referring to the artistic performances and works of gifted individuals, which have their own genealogy of creativity in the lineages of Western art. Rather, I am referring to the small, personal events that we see within the mediated spaces of the everyday (on the television screen, in magazines and newspapers
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Brockington, Roy, and Nela Cicmil. "Brutalist Architecture: An Autoethnographic Examination of Structure and Corporeality." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1060.

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Introduction: Brutal?The word “brutal” has associations with cruelty, inhumanity, and aggression. Within the field of architecture, however, the term “Brutalism” refers to a post-World War II Modernist style, deriving from the French phrase betón brut, which means raw concrete (Clement 18). Core traits of Brutalism include functionalist design, daring geometry, overbearing scale, and the blatant exposure of structural materials, chiefly concrete and steel (Meades 1).The emergence of Brutalism coincided with chronic housing shortages in European countries ravaged by World War II (Power 5) and g
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