Close/Clown Encounters with History: From Mimesis to Kinesis in Practice as Research

On the construction of intelligent multimedia presentations

From a personalized media point of view, many users favor a flexible tool to quickly browse the affective content in a video. Such affective content may cause audiences' strong reactions or special emotional experiences, such as anger, sadness, fear, joy and love. This paper attempts to extract affective content for digital videos by analyzing the subtitle files of DVD/DivX videos and utilize audio event to assist affective content detection. Firstly, videos are segmented by dialogue script partition. Compared to traditional video shot, video segmented by scripts is not affected by camera changes and shooting angles and easy to include video segments with compact content. Secondly, emotion-related vocabularies in video script are detected to locate affective video content. Using script to directly access video content avoids complex video analysis. Thirdly, audio event detection is utilized to assist affective content detection. Compared with traditional video semantic analysis, affective content analysis puts much more emphasis on the audience's reactions and emotions. Initial experiments are carried on sitcom videos because its simple video structure provides useful domain knowledge. The experimental results demonstrate that subtitle file analysis and audio event detection provides effective and efficient clues to determine the emotional content of the videos.

A Cautionary Tale of Performance Ethnography Brian Rusted (bio) Magdalena Kazubowski-Houston Staging Strife: Lessons from Performing Ethnography with Polish Roma Women Montreal and Kingston: McGill-Queen’s UP, 2010 Click for larger view View full resolution Book cover of Magdalena Kazubowski-Houston’s Staging Strife: Lessons from Performing Ethnography with Polish Roma Women (McGill-Queen’s University Press, 2010). Cover design by David LeBlanc Over the last decade, books such as Denzin’s Performance Ethnography, Madison’s Critical Ethnography, collections charting the performance studies field (Davis; Madison and Hamera), and those demonstrating its contributions to community, voice, and change (Kuppers; Pollock Remembering) have done much to facilitate the travel of engaged performance scholarship across qualitatively informed disciplines. Such endeavours have helped make links connecting ethnography, performance, and critical praxis more evident, and have demonstrated what Dwight Conquergood characterized as the shift in ethnography from a textual enterprise of reading cultural performances to a sensory and dialogical one where performance is embodied as epistemology and representational practice (190). Magdalena Kazubowski-Houston’s Staging Strife builds on this legacy with a case study of the challenges and accomplishments of collaborative, [End Page 91] performance scholarship. The International Congress of Qualitative Inquiry has recognized these accomplishments with its 2011 Qualitative Book Award, as did the Canadian Association of Theatre Research naming it as one of the recipients of the 2011 Ann Saddlemyer Award. Staging Strife is based on doctoral research conducted among Roma women in northern Poland starting in 2001. Kazubowski-Houston’s project was shaped by several objectives: she wanted to focus on ethnic and gendered violence experienced by Roma women in Poland; in addition to a dissertation, the research process was to produce a collaborative work of theatre derived, she hoped, “to break new ground” in ethnographic theatre “by employing physical movement as well as text as a mode of expression” (14); and given the engaged, critical perspective of performance ethnography, the project was “to effect change in the lives of Roma women” (Kazubowski-Houston 24). Kazubowski-Houston developed her sense of ethnographic theatre during her MFA. This approach, influenced by Johannes Fabian’s work in Zaire, allows the researcher to explore questions “by collaboratively developing a theatre performance with research participants” (Kazubowski-Houston 31). One of the project’s distinctive qualities, then, is that it encompasses the process of performance creation: the performance is not solely a representational work crafted after the fact from the research. Although Kazubowski-Houston identifies as an anthropologist, she brought extensive experience as a working theatre professional to the project. Her Polish background and longstanding interest in Poland’s modernist, theatrical avant-garde was complemented by her partner Shawn’s training in Grotowski’s acting methods at the University of Winnipeg. Together they formed Teatr Korzenie and derived their own brand of avant-garde practice, “Illustrative Performing Technique” (Kazubowski-Houston 34). Without such creative experience, it is unlikely that this project could have been proposed, completed, or turned into a theatre work or monograph. Staging Strife is accessible and engaging: it carries the reader effortlessly into the unfolding research process. This quality is due in part to a fluid movement between distinct verbal registers: a personal register that articulates both theoretical and experiential engagements shaping Kazubowski-Houston’s perspective; a more evocative, sensory register aimed at bringing the details of her subjects’ lives vividly before the reader; and a scripted, dramatic register representing particular moments of interaction that demonstrate central issues or turning points as the project unfolds. Kazubowski-Houston deploys these registers carefully making each methodological step clear to the reader while preserving the vitality of the temporal experience of doing the research. The writing enacts precepts of reflexive, interpretive autoethnographies that “reveal the presence of their authors, their personal and cultural background, their interactions with the research participants, and their thoughts and feelings during the research process” (Kazubowski-Houston 15). The book balances its major components through such reflexivity: Kazubowski-Houston’s roles as ex-patriot, doctoral researcher, and theatre professional; the Roma’s socially marginal experiences as they coped with day-to-day concerns about health, violence, income, and discrimination; and the art world politics of the local cultural centre and...

With the currently strict environmental law in present days, researchers and industries are seeking to reduce the amount of cutting fluid used in machining. Minimum quantity lubrication is a potential alternative to reduce environmental impacts and overall process costs. This technique can substantially reduce cutting fluids in grinding, as well as provide better performance in relation to conventional cutting fluid application (abundant fluid flow). The present work aims to test the viability of minimum quantity lubrication (with and without water) in grinding of advanced ceramics, when compared to conventional method (abundant fluid flow). Measured output variables were grinding power, surface roughness, roundness errors and wheel wear, as well as scanning electron micrographs. The results show that minimum quantity lubrication with water (1:1) was superior to conventional lubrication-cooling in terms of surface quality, also reducing wheel wear, when compared to the other methods tested.

Hibernia is the pioneer development for the emerging Canadian east coast offshore oil industry. As the first operator in this area, the Hibernia Management and Development Company Ltd. (HMDC) is developing local skills and infrastructure which can support future developments. The Hibernia field is located 315 kilometres east southeast of St. John's, Newfoundland. It consists of two reservoirs - the Avalon and the Hibernia reservoirs, located at average depths of 2400 metres and 3700 metres respectively. Containing approximately three billion barrels of oil in place, Hibernia is the fifth largest discovered oil field in Canada. Recoverable reserves are estimated to be 615 million barrels. Limited data is available on the Avalon reservoir at this time, and initial drilling activity is expected to identify significant reserves upside. A fixed drilling and production platform is being assembled in Newfoundland to produce the field. Its design includes a first-of-its-kind concrete Gravity Base Structure, which has a 15 metre thick ice belt that can withstand the impact of multi-million tonne icebergs. The completed platform is scheduled to be towed to its offshore location in June 1997, with first oil expected in December. The platform has a design production capacity of 150,000 barrels of oil per day. Average production of 135,000 barrels of oil per day is expected during the 6 year plateau period. Other discoveries around Hibernia offer the opportunity for subsea tiebacks for processing and storage of crude in the future. Hibernia has a pre-production budget of US$4.4 billion, and total development costs are estimated to be US$8.0 billion, excluding transportation costs. Introduction The waters off the east coast of Newfoundland are host to 16 undeveloped oil fields containing estimated recoverable reserves of 25 1 million m3 (1.6 billion barrels). The area also contains an estimated 234 billion m3 of gas, and 58 million m3 of natural gas liquids1. With oil in place estimated at 477 million m3 (three billion barrels) and recoverable reserves of 98 million m3 (615 million barrels), Hibernia is by far the largest discovery offshore Canada to date. In fact, it is the largest undeveloped oilfield in Canada, and by the turn of the century is expected to produce approximately 10% of Canada's light crude oil production. Once Hibernia begins production in December 1997, it will be leading the development of a new offshore oil industry for Canada. However, one field does not constitute an industry. In order for an industry to evolve, Hibernia has to prove that it can compete with similar operations by achieving its goal of top quartile industry performance in relation to the North Sea. This goal is achievable but will present challenges, especially in the area of platform support costs. Using present day technology, it will take 18 years todeplete the estimated 98 million m3 (615 million barrels) of recoverable oil from the Hibernia field.

Reviewed by: Mixed Faith and Shared Feeling: Theater in Post-Reformation London by Musa Gurnis Chloe Kathleen Preedy MIXED FAITH AND SHARED FEELING: THEATER IN POST-REFORMATION LONDON. By Musa Gurnis. Philadelphia: University of Pennsylvania Press, 2018; pp. 272. In Mixed Faith and Shared Feeling: Theater in Post-Reformation London, Musa Gurnis offers a fascinating reevaluation of how dramatists writing for the commercial English theatre responded to the divisions within and plurality of post-Reformation Christianity. This subject has attracted considerable scholarly attention in recent years, but Gurnis’s monograph represents a unique and valuable contribution to the field. Whereas existing studies often draw binary distinctions between “Catholic” and “Protestant” authors or works, Gurnis argues for a more nuanced appreciation of the early modern theatre’s confessional range. Noting the polyvalency of contemporary English Christian identity, at a time when “subcultures of puritans, church papists, Laudians, recusants, ardent conformists, and converts” battled for the “soul” of the authorised Church (2), Gurnis explores the implications for a theatre whose playwrights, players, and paying customers came from across this confessional spectrum. On the one hand, Gurnis suggests, the fact that many early modern plays are the product of collaboration between two or more dramatists, as well as the “public” nature of the commercial playhouses, complicates the extent to which any one play might express a singular religious position. Thus these works were produced by and intended for consumption by “mixed-faith groups” of theatre professionals and playgoers (2). On the other hand, plays that featured characters of various faiths might in turn disrupt the “everyday religious orientations” of individuals by prompting them to engage imaginatively with unfamiliar confessional positions (3). Gurnis’s study evaluates the implications for post-Reformation drama’s depiction of spiritual themes and experiences, offering an informative, thought-provoking, and persuasive new perspective on this important topic. This book’s refreshing alertness to the collaborative practices of the commercial theatre and the diverse socio-religious composition of its audiences is mediated through a strong cultural materialist emphasis on theatre’s “active” relationship to and influence on the wider world (5). Specifically, Gurnis emphasizes the post-Reformation theatre’s capacity to reflect and refract existing confessional affiliations and understandings. The first two chapters contain some of the book’s richest material, as Gurnis uses archival sources to explore contemporary audience composition and the ways in which actual playgoers responded to religious elements in early modern drama. In a compelling refutation of the common assumption that most or all post-Reformation playgoers were conforming Church of England Protestants (7), chapter 1 examines the faiths of those who are known to have attended performances at the commercial playhouses. Through their range and diversity, the case studies in this section persuasively demonstrate the “de facto pluralism of the post-Reformation religious scene” (10), while Gurnis further concludes that, regardless of their own faith, these playgoers might temporarily engage with the confessional positions expressed by dramatic characters in ways that allowed for a fluid interplay between the staged play’s fictional religious culture and that of the post-Reformation [End Page 254] England in which the dramatic work was produced and experienced. Chapter 2 expands thoughtfully on this distinction between actual belief and the imaginative play that, Gurnis suggests, theatre enables. This argument is informed by recent work by Allison Hobgood, Steven Mullaney, and others on the affective dimensions of early modern playgoing, which contemporaries credited with a potentially transformative effect on the emotions of those involved. Gurnis illuminates this model’s prospective religious significance by examining recorded audience reactions to plays such as Thomas Heywood and Richard Brome’s The Late Lancashire Witches, and by considering the relevance of Anglo-Spanish politics to Thomas Dekker’s Noble Spanish Soldier and the collaborative drama The Spanish Gypsy, usually attributed to Thomas Middleton, William Rowley, John Ford, and Dekker. Despite the challenges associated with assessing early audience reactions, the wealth of supporting material assembled by Gurnis enables her to compare the responses of individual play-goers to any surviving evidence about their faith, demonstrating that audience members’ reactions to performances “were not always aligned with— or the outcome of—their individual beliefs” (38). Gurnis’s...

Storytelling, Self, Society, 8:48-51, 2012 Copyright©Taylor &Francis Group, LLC ISSN: 1550-5340 print /1932-0280 online DOI: 10.1080/15505340.2012.635099 Routledge Taylor &Francis Group PERFORMANCE REVIEW Thrice-Told Tales: Pouring Tea as Performance Ethnography CherylBlack Pouring Tea:BlackGayMenoftheSouthTellTheir Tales.Performed byDr.E. Patrick Johnson. Rhynsburger Theatre, University ofMissouri, Columbia, Missouri. April25,2011. From2004-2006,artist/scholar E. Patrick Johnson traveled throughout 15 Southern states conducting ethnographic, oralhistory interviews with morethan 70 gayblackmen.Thelifestories they shared with himeventually comprised 3,000pagesoftranscription, distilled andpublished in2008 as SweetTea: BlackGayMenoftheSouthTellTheirTales.Johnson's original intention ,however, had beento perform thestoriesin front of live audiences.As he prepared a narrative text forpublication, he also crafted a performance basedonselected narratives which he has toured, in variousforms, tomorethan30 universities since2006. On April25, 2011, Dr.Johnson brought anhour-long version oftheperformance text totheUniversity ofMissouri, sponsored by severalcampusorganizations including theGraduate Theatre Organization; the LGBTQ ResourceCenter;theChancellor'sDiversity Initiative; theDepartments ofTheatre, Sociology, andWomen'sandGender Studies; andtheGraduate Professional Council. Bertolt Brechtonce observedthat"thereare manyconceivablewaysof tellinga story" (201). Johnson's method ofstorytelling exemplifies theartistic, critical practice ofperformance ethnography. Pioneered inthe1980sbyDwight Conquergood, theperformance ofethnographic research hassteadily gainedground, primarily within academicsettings, as a rhetorically compellingwayof "deeplysensing theother" (3). Performance ethnography is storytelling, which incorporates manyoftheaesthetic pleasures oftraditional, theatrical performance butwiththe distinctively political andethical aimofsubverting notions ofexpertise, interpretation, andunilateral authority inprivileged narratives. Aware ofthemoral andpolitical implications ofperformance , Conquergood developed a dialogic practice that resisted a collapsing ofidentities, instead keeping thedialogue openandalivebetween ethnographer and"Other." Following Conquergood, Address correspondence toCheryl Black, Department of Theater, University of Maryland, 129 Fine Arts, Columbia, MO65211. E-mail: BlackC@missouri.edu PERFORMANCE REVIEW 49 Johnson has crafted a dialogicperformance thatportrays a genuineconversation, dispersing authority ofthetext andrespecting thedignity, willandindividuality oftheinterviewees. Johnson signalsa breakfrom thepublished narrative withhistitle change, from thebook's SweetTeatothemoreperformative Pouring Tea, a phrase with thespecialmeaning within the black,gaycommunity ofgossiping, telling secrets, ortelling tales.Tellingly, theprogram cover features theperformance title inlargeboldfont anda photograph ofoneofthe"blackgaymen" ofthetitle. Johnson's credit at thebottom oftheprogram is in a muchsmaller, lighter font. Inside, Johnson's bio sharesroughly equalspacewith theidentification ofthesevenmenwho will"pourteaabout"central themes: earlychildhood, coming out,rebellion, religion, coming ofage pre-Civil Rights (in the1920sand 1930s),masculinity andpeerpressure, andbeinga Southern diva. Inkeeping with a critical andnonillusionist performance practice that doesnotaimtoconvince anaudience that they areseeing"reality," thespace(theapron oftheRhynsburger's proscenium stage, with thedropped proscenium curtain providing a background), wasfurnished sparsely with twostools(oneholding a glassoficedtea),a musicstand holding thescript, anda coatrackon which hung a choir robe.Thestand androbepoint toJohnson's useofmusicas a bridge between stories - a richly evocative mixofgospel,blues,disco,classic,andjazz- that notonlyprovides considerable aesthetic pleasure butalsounderscores thethemes inthestories. In further keeping with dialogicperformance practice, Johnson doesnotattempt todisguise hisidentity. He is simply dressed inblackslacksandoxford shirt, andhisperformance style is simple, intimate, andaccessible.He settles comfortably on oneofthestoolsandoccasionally takesa sipoficedtea.Thescript onthemusicstand reminds theaudienceofthesourcematerial ,andas Johnson beginstore-tell thetalesherefers tothescript regularly, perhaps reading, orperhaps consciously callingattention totheexistence ofthestories inallthree forms: as originallytold ,live,tohim;as transcribed andeditedtext;andnow,as re-told inanother context toanother audience. Johnson precedes there-telling ofeachstory byplaying a brief recording from theoriginal interview, another reminder totheaudience that these stories werenotauthored byJohnson. WhenJohnson continues thestory, hedistinguishes thesevennarrators with subtle adjustments ofvoice,body, gesture, orfacialexpression, interpolating questions as himself (the ethnographer) andresponding as anOther. He doesnotattempt themimetic transformation that typifies, forexample, AnnaDeavereSmith'sperformances ofmultiple anddiverse characters. Whereas Smith's virtuosity as a quick-change artist cansometimes overshadow themessage, in Johnson's dialogicperformance theinterviewer, thestories, and,most importantly, themenwho first toldthem consistently share thestage. Without ever"disappearing" into theroles, Johnson nonetheless manages tovividly evokethe presence ofsevenindividuals. Theenactment oftheir stories ofgrowing upblackandgayinthe South, as "co-performatively interpreted" (Johnson's phrase) byanopenly blackgaymanborn in theSouth, constitutes a profound critique ofracism, sexism, andhomophobia inourculture. Their stories arepainful, poignant, funny, andtriumphant. Storytellers recallphysical andsexualabuse, poverty, thefearofbeingunwanted; fearofdamnation andhell,thoughts ofsuicide.Humor, however, pervades eventhemost painful ofmemories. Bursts oflaughter accompanied Michael's memories ofreactions tohissexuality from hishomophobic family, particularly hisrecollection ofhisfather's attempt tocuthisnewly permed bangswith a pairofhedgeclippers. Theaudience responded similarly when thesoft-spoken Freddie recalls"carrying a single edgerazor blade. . . 50 BLACK tosharpen pencils," andcutting a bullyinorder togaina measure ofrespect as a "meanlittle sissy." Gainingthatmeasureof respect, no matter how hard-won, is a recurring themewithin thestories. Humorandhard-won respect arepresent evenwithin...

Works, Pieces, and Objects Performed Paul Thom (bio) Introduction James Hamilton has written a book on the philosophy of theater that is admirable for its analytic clarity and for the wide knowledge of theatrical practice that it brings to bear on philosophical questions. The book’s main thesis is that theatrical performances are not presentations or executions or completions of texts, but the meaning of this thesis is not completely clear. Hamilton sometimes expresses the thesis specifically in relation to literary texts: what is of interest in this book is the fact that the history I have been tracing—including the history of these debates—has revealed theatrical performance to be a form of art in its own right, independent of literature. And it is the meaning and truth of that discovery that is the central, indeed the only, concern in this book.1 . . . Theatrical performance is a practice independent of literature.2 This is the thesis in its weak form. Sometimes, however, he voices it in a strong form, relating to a class of artworks wider than literary texts: “A performance is . . . never a performance of some other work.”3 Hamilton’s thesis, in either its weak or its strong form, might be understood as a claim about theatrical performance as such, or it might be understood as a generalization about individual theatrical performances. To take it the first way would be to take it intensionally, as a claim about the nature of theatrical performance—a statement about what the very notion of theatrical performance implies and what it excludes. To take it the second way would be to take it extensionally, as a claim about each and every theatrical performance. Thus, the weak thesis—the thesis relating to literary texts—might be understood (intensionally) as stating that theatrical performance as such is an art form that is independent of literary texts. Or it [End Page 67] might be understood (extensionally) as stating that no individual theatrical performance qua artwork depends on a literary text. Similarly, the strong thesis—the thesis relating to artworks in general—might be understood (intensionally) as stating that theatrical performance as such is an art form independent of all artworks that are not theatrical performances. Or it might be understood (extensionally) as stating that no individual theatrical performance qua artwork depends on any artwork that is not itself a theatrical performance. In this article I outline a framework within which I argue that Hamilton’s thesis in either its weak or its strong form should be accepted as an intensional claim about either moral or ontological independence, but it should be rejected as an extensional claim. Then I will discuss a line of reasoning Hamilton uses in support of his thesis, and I will argue that it is invalid. A Framework Spectators at a performance are often able to distinguish, at least to some extent, between the performance and what is performed. This must be the case if spectators are ever to be in a position to comment, for example, on whether a particular routine, which is part of what has been performed, is the same routine as was performed on another occasion—or to comment on how well or badly the routine is being executed. The concept of “what is performed” is therefore an important one for the philosophy of the performing arts. It appears that Hamilton is using this concept when he talks about “the performed object.”4 He doesn’t give us an analysis of what exactly a performed object is, but it appears to be more general than what Paul Woodruff means by a “theater piece.” Woodruff defines a theater piece as a kind of theatrical event that may be repeated.5 (I take it that the definition doesn’t imply that all theater pieces are capable, practically speaking, of being repeated—for that would be false—but merely means that the notion of a theatrical event leaves open the possibility of repetition.) A theater piece is, presumably, a performed object, but a performed object need not be a theater piece if theater is defined (following Woodruff) in terms of human action that is worth watching. Some performances—many musical...

Global health learning experiences for medical students sit at the intersection of capacity building, ethics, and education. As interest in global health programs during medical school continues to rise, Northwestern University Alliance for International Development, a student-led and -run organization at Northwestern University Feinberg School of Medicine, has provided students with the opportunity to engage in two contrasting models of global health educational engagement.Eleven students, accompanied by two Northwestern physicians, participated in a one-week trip to Matagalpa, Nicaragua, in December 2010. This model allowed learning within a familiar Western framework, facilitated high-volume care, and focused on hands-on experiences. This approach aimed to provide basic medical services to the local population.In July 2011, 10 other Feinberg students participated in a four-week program in Puerto Escondido, Mexico, which was coordinated by Child Family Health International, a nonprofit organization that partners with native health care providers. A longer duration, homestays, and daily language classes hallmarked this experience. An intermediary, third-party organization served to bridge the cultural and ethical gap between visiting medical students and the local population. This program focused on providing a holistic cultural experience for rotating students.Establishing comprehensive global health curricula requires finding a balance between providing medical students with a fulfilling educational experience and honoring the integrity of populations that are medically underserved. This article provides a rich comparison between two global health educational models and aims to inform future efforts to standardize global health education curricula.

The purpose of the article is to analyze the role of the artistic design of the performance in contemporary Ukrainian music theater. The research methodology consisted in applying the historical-comparative method to determine the role of scenography in the context of the historical background and prospects for development; the comparative method for comparing stage interpretations of Vitalii Kyreiko’s opera “The Forest Song” in the context of scenographic searches; the method of source studies in order to process previous achievements on this topic and all archival documents; the communicative method for collecting memoirs of co-producers and eyewitnesses involved in the productions (personal interviews with composer V. Kyreiko (2013-2016), production designer O. Havrysh, performer of Mavka’s part N. Nikolaishyn); the logical method (generalization, analogy) for the consideration of problems related to the implementation of opera dramaturgy on stage; the analytical method for the analysis of scenographic and directorial design in the interpretative search. This methodological approach allowed for considering the artistic presentation of the musical performance from the historical perspective of development. The scientific novelty of the work lies in the first attempt to characterize the specific techniques and ways used in the production of musical performances, particularly Vitalii Kyreiko’s opera-fair “The Forest Song” after the same name drama by Lesia Ukrainka. Conclusions. During the period of gradual decline of opera theater, the issue of updating stage performances of the classical opera repertoire, the artistic interpretation of the work and the director's vision needs to be solved. The important factor in establishing contact with the audience is the scenographic design of the play because the artistic style of the performance is the face and the shell of the play. The question of scenography in Ukrainian opera is relevant and significant for the national musical culture. It requires further study and research by art historians, theatre critics and music directors.

Europe has long been the top destination for U.S. study abroad, yet the voices of European on-site professionals have often been overlooked in the field. Recent shifts toward inclusive and reciprocal practices with U.S. partners have led to Europe-specific conferences and this special issue, which amplifies the perspectives of those delivering study abroad in Europe. This introduction highlights the distinct history and scale of study abroad and the significant setback that COVID-19 caused to it. The Guest Editors present diverse articles addressing structural, pedagogical, cultural, and historical gaps in transatlantic collaboration. Key topics include student services, mental health, diversity, equity, inclusion, climate change awareness, and the impact of U.S. educational expectations on local staff. These pressures can challenge the core goal of study abroad: cultural immersion. Effective collaboration and open dialogue are essential to bridging these divides, ensuring local expertise is valued and shared objectives are met. Abstract in French L'Europe est depuis longtemps la première destination des études à l’étranger pour les étudiant·e·s américain·e·s, mais la voix des professionnels sur place en Europe a souvent été négligée dans le secteur. L'évolution récente vers des pratiques inclusives et réciproques avec les partenaires américains a conduit à des colloques spécifiques à l'Europe et à ce numéro spécial, visant à donner la parole à ceux et celles impliqué·e·s dans la mise en œuvre des programmes universitaires des U.S. en Europe. Cette introduction met en lumière l'histoire distincte, l'ampleur et les revers significatifs causés par Covid-19. Les éditeurs et éditrices invité·e·s présentent divers articles traitant des lacunes structurelles, pédagogiques, culturelles et historiques dans la collaboration transatlantique. Les principaux sujets abordés sont les services aux étudiants, la santé mentale, la diversité, l'équité, l'inclusion, la sensibilisation au changement climatique et l'impact des attentes des États-Unis en matière d'éducation sur le personnel local. Ces pressions peuvent remettre en cause l'objectif principal de la mobilité internationale : l'immersion culturelle. Une collaboration efficace et un dialogue ouvert sont essentiels pour combler ces fossés et pour s'assurer que l'expertise locale est valorisée et les objectifs communs sont atteints. Abstract in Spanish Durante mucho tiempo, Europa ha sido el principal destino para el study abroad de Estados Unidos. Sin embargo, la perspectiva del personal in situ a menudo se ha solido pasar por alto en este ámbito. Los recientes avances hacia prácticas más inclusivas y recíprocas con los socios en Estados Unidos han dado lugar a congresos específicos sobre el contexto europeo y a este número especial, que amplifica la visión de quienes gestionan los programas de study abroad en Europa. Esta introducción destaca la historia particular, la magnitud de este sector y los importantes retrocesos causados por la pandemia del COVID-19. El equipo de edición invitado presenta diversos artículos que abordan las brechas estructurales, pedagógicas, culturales e históricas en la colaboración transatlántica. Los temas principales incluyen la atención al alumnado, la salud mental, la diversidad, la equidad y la inclusión, la concienciación sobre el cambio climático y el impacto de las expectativas educativas estadounidenses en el personal local. Estas presiones pueden dificultar el objetivo central de study abroad: la inmersión cultural. La colaboración efectiva y el diálogo abierto son imprescindibles para superar estas divisiones, asegurando que se valore la experiencia local y se alcancen los objetivos compartidos.

Around 1920, Case investigated the thallium sulfide photoconductor - €”one of the first photoconductors to give a response in the near IR region to approximately 1.1 I¼m. The next group of materials to be studied was the lead salts (PbS, PbSe, and PbTe), which extended the wavelength response to 7 I¼m. PbS photoconductors from natural galena found in Sardinia were originally fabricated by Kutzscher at the University of Berlin in the 1930s. However, for any practical applications it was necessary to develop a technique for producing synthetic crystals. PbS thin-film photoconductors were first produced in Germany, next in the United States at Northwestern University in 1944, and then in England at the Admiralty Research Laboratory in 1945. During World War II, the Germans produced systems that used PbS detectors to detect hot aircraft engines. Immediately after the war, communications, fire control, and search systems began to stimulate a strong development effort that has extended to the present day. After 60 years, low-cost, versatile PbS and PbSe polycrystalline thin films remain the photoconductive detectors of choice for many applications in the 1-€“3 I¼m and 3-5 I¼m spectral range. Current development with lead salts is in the FPAs configuration.

Becker, Florian N., Paola S. Hernandez, and Brenda Werth, eds. 2013. Imagining Human Rights in Twenty-First Century Theatre: Global Perspectives. New York: Palgrave Macmillan. $85.00 hc. 326 pp.Imagining Human Rights in Twenty-First Century Theater might seem prematurely retrospective as we start second decade of this century, but timing is fitting for scholarship that works in interventionist spirit of its subjects. The links that this essay collection makes between theater and are well framed in its introduction. Here editors propose a broader connection of to culture and to imagination, arguing that human rights- both as a field of interrelated and often competing philosophical conceptions and as a network of actually existing social and legal practices and institutions- depend at every turn on acts of imagination(3). They then develop this assertion through a more specific discussion of role of theatrical imagination and of humanist ethics in formation of a critical public sphere.The book's foreword promises that it will illuminat[e] relation of theater practice and this still-emerging modality of rights, in which to participatory citizenship adhere to personas rather than national territories (xii). Illumination is an apt term not only for essays in Imagining Human Rights, but also with respect to theatrical practices that they analyze, for these essays take up often-obscured subjects and mechanisms of violations and make them visible to their audiences. The image of illumination in foreword anticipates editors' emphasis on Enlightenment roots of as a phrase and concept. Their introduction traces invention of concept of to seventeenth- and eighteenth-century European Enlightenment concepts of individual identity and communal values. The editors locate point of contact between theater and in Enlightenment's philosophies of individual and of communal responsibility and in its concurrent notions of theatrical imagination and identification. They argue that what makes theater and performance distinct from other imaginative forms is that the representations [that theatrical performances] produce arise through shared acts of imagination about actually present bodies (4). Embodiment and representation of pain and trauma form a core preoccupation of book, many of essays concern themselves with demonstrating potential and limits of that 'liveness' and of dimensionality of theater in its impact on audiences.Imagining Human Rights poses several crucial questions at outset: How should or do we define and frame rights? How might be linked to or distinguished from other issues of social and political justice? And what can or should we expect theater or performance to do for rights? In posing and responding to these questions, book implicitly answers Sophia McLennen's call for a public critical dialogue about how comparative imagination plays an essential role not only in considerations of political power and representational practices but also in very ways that we understand agency, democracy, civic responsibility, and rights (17). Her editorial introduction to a 2007 issue of Comparative Literature and Culture on relationships between humanities and activism stressed urgent need to bridge divide between humanities scholarship and policy and practice. McLennen's work goes unmentioned in Imagining Human Rights, which is a pity, as this anthology would benefit greatly from building more explicitly on her investigations of relationships between aesthetics, ethics, and (particularly in her work on Chilean playwright Ariel Dorfman).Yet there is much to celebrate in this eclectic and deeply informative collection. …

Purpose– The purpose of this article is to offer a new perspective on library instruction by examining its relationship with various aspects of theatrical performance.Design/methodology/approach– The author uses personal observations as inspiration to examine what has been written in scholarly literature about various theatrical practices in instruction, applying the conversation to the library instruction context. Additionally, research from business and professional literature is also incorporated into the discussion. This literature review focuses on three general areas. First, a review on how to use tools and perspectives from the theater to help librarians prepare their lessons; second, an examination of the librarian as performer; and third, a discussion on how theater might help librarians deal with repetition and burnout.Findings– The literature on this subject has been extensive and includes an all-encompassing range of practical suggestions, research findings and theoretical analyses.Research limitations/implications– This article looks at this subject through the lens of scholarly literature. Empirical research on this topic is still needed.Practical implications– The author presents a number of theatrical practices librarians might consider incorporating into their instruction sessions.Originality/value– Much has been written about the connection between teaching and theatrical performance, but seldom from a librarian’s point of view. This article is of value to librarians looking to develop a memorable one-shot instruction session and those looking to examine the connection between teaching and performance.

REVIEWS 231 itself, but his remarkably thorough (over 100 pages) introduction to the poem. Ringler’s years of scholarly expertise on the text are evident in his enlightening synopses and analyses of the poem, and the variety of textual challenges the manuscript presents. The topics covered in his introduction are The Story, Oral and Written Beowulfs, Legend and Lore, Narrative Strategies and Structures, The Hero, Christianity and the Problem of Violence, The Poet, and The Meter of the Translation. Each section discusses its topic in depth with thoughtful insight. Ringler also provides helpful maps and appendixes to give the reader a more complete understanding of the text, as well as the context. He includes translations of three other Old English poems, “The Fight at Finnsburg,” “A Meditation ” (Ringler’s own title for the poem more widely known as “The Wanderer ”), and “Deor.” These extra translations make this edition that much more comprehensive and worthwhile. Ringler’s glossary of people and places in Beowulf proves especially useful, as he provides line numbers for each reference . The short but fairly comprehensive bibliography of critical material also contributes to making Ringler’s text a worthwhile scholarly edition as well as an edition for the casual reader coming to Beowulf for the first time. SOS BAGRAMYAN, English, Indiana University David Bevington, This Wide and Universal Theater: Shakespeare in Performance Then and Now (Chicago: University of Chicago Press 2007) xi + 242 pp. David Bevington’s book on the staging of Shakespeare’s plays is not aimed at an academic readership. This text will prove more useful to fans of Shakespeare , those interested in the history of performance of Shakespeare’s plays (from the Elizabethan period onward), or even those in the theatrical profession looking for some insight into how people have staged Shakespeare through the ages. This book does not include performance theory or rigorous academic analysis. While not a purely academic text, Bevington’s book provides piercing insights into the relationship between text and stage. In Bevington’s own words: “[This book] places Shakespeare’s plays in that original theatrical space as a way of suggesting how an awareness of their theatrical dimensions can illuminate numberless dramatic situations inherent in the dialogue; and to juxtapose those insights with more modern instances in film, television, and theatrical performance in order to appreciate some ways in which changed modes of presentation can arise out of, and contribute to, chanced perceptions of the text” (1–2). The first chapter (the introduction) goes through a general history of how Shakespeare has been staged from 1590 to the present day. Bevington wishes to show why productions of Shakespeare today tend to veer more toward the spirit of the original productions of the 1590s and 1610s. While this serves as the general thesis, the majority of the book is informational in nature and sometimes sprinkled with interesting interpretations of both the staging of certain plays as well as the texts themselves. Chapter 2 discusses the world of the Elizabethan theater and gives a comprehensive history of not only the how plays were produced in the Renaissance, but also the history behind theater REVIEWS 232 houses, their owners, and actors involved in the world of the theater. Bevington gives the reader all of what we can say for sure (and what we can only guess) about early modern playhouses and how productions were conducted. The third chapter deals with the staging of the comedies, concentrating on The Taming of the Shrew, Much Ado About Nothing, A Midsummer Night’s Dream, and As You Like It. Bevington shows how, in his comedies, “Shakespeare transforms his theatrical environment into a world of playful illusion” paying attention to how these plays have been interpreted on stage as well as on film (66). He gives only a few pages to The Comedy of Errors, The Merchant of Venice, Love’s Labor’s Lost, The Merry Wives of Windsor, Twelfth Night, and The Two Gentlemen of Verona. In chapter 4 Bevington moves on to how the histories would have been staged on both the Elizabethan stage as well as more modern interpretations. He spends much of his time on how the early modern stage would have...