D6.1.3 [Final Report on Dissemination]

Total Page:16

File Type:pdf, Size:1020Kb

D6.1.3 [Final Report on Dissemination] D6.1.3 [Final Report on Dissemination] REDUCTION 2011-2014 Deliverable D6.1.3 Final Report on Dissemination 31-08-2014 31/08/2014 1 Version: Final D6.1.3 [Final Report on Dissemination] Project acronym: Reduction Project full title: Reducing Environmental Footprint based on Multi-Modal Fleet management Systems for Eco-Routing and Driver Behaviour Adaptation Work Package: WP6 Document title: Final Report on Dissemination Version: 2.0 Official delivery date: 31/08/2014 Actual publication date: 31/08/2014 Type of document: Deliverable Report Nature: Public Authors: Chenjuan Guo (AU), Bin Yang (AU), Christian S. Jensen (AU), Danielle van Vliet (TRI), Kristian Torp (AAU), Josif Grabocka (UHI), Katsaros Dimitrios (UTH), Casper Jul Nielsen (FlexDanmark), Kyriacos Mouskos (CTL) Approved by: Christian S. Jensen Version Date Sections Affected 1.0 2014.08.12 Initial version 1.1 2014.08.15 Comments from UHI and TRI addressed 2.0 2015.01.26 Comments from the 3rd year review meeting addressed 31/08/2014 2 Version: Final D6.1.3 [Final Report on Dissemination] Contents 1. Introduction .......................................................................................................................................................................... 8 1.1 Project Overview ......................................................................................................................................................... 8 1.2 Work Package Objectives and Tasks ................................................................................................................... 8 1.3 Objectives of this Deliverable ................................................................................................................................. 9 2. Communication Plan ....................................................................................................................................................... 11 3. Dissemination Means ...................................................................................................................................................... 13 3.1 Project Logo ................................................................................................................................................................. 13 3.2 Project Website .......................................................................................................................................................... 13 3.3 Project Fact Sheet and Poster ............................................................................................................................... 15 4. Dissemination Events Scheduling and Reporting ............................................................................................... 16 4.1 Dissemination Rationale ........................................................................................................................................ 16 4.2 The First Year: September, 2011~August, 2012.......................................................................................... 16 4.2.1 Publications ......................................................................................................................................................... 16 4.2.2 Presentations ...................................................................................................................................................... 22 4.2.3 Established Contacts........................................................................................................................................ 26 4.2.4 Public Participation and Awareness ......................................................................................................... 26 4.3 The Second Year: September, 2012-August, 2013 ...................................................................................... 30 4.3.1 Publications ......................................................................................................................................................... 30 4.3.2 Presentations ...................................................................................................................................................... 38 4.3.3 Established Contacts........................................................................................................................................ 44 4.3.4 Public Participation and Awareness ......................................................................................................... 45 4.4 The Third Year: September, 2013 - August, 2014 ....................................................................................... 49 31/08/2014 3 Version: Final D6.1.3 [Final Report on Dissemination] 4.4.1 Publications ......................................................................................................................................................... 49 4.4.2 Presentations ...................................................................................................................................................... 63 4.4.3 Established Contacts........................................................................................................................................ 71 4.4.4 Public Participation and Awareness ......................................................................................................... 72 5. Risk Assessment and Conclusions ............................................................................................................................. 76 5.1 Risk Assessment ........................................................................................................................................................ 76 5.2 Conclusions .................................................................................................................................................................. 76 6. Policy and Administrative Issues ............................................................................................................................... 77 Glossary ..................................................................................................................................................................................... 77 31/08/2014 4 Version: Final D6.1.3 [Final Report on Dissemination] List of Tables Table 1 Summary of Objectives of D6.1.3 .................................................................................................................... 10 Table 2 Summary of Main Target Audiences ............................................................................................................. 11 Table 3 Publications in Year 1 .......................................................................................................................................... 16 Table 4 Presentations in Year 1 ....................................................................................................................................... 22 Table 5 Established Contacts in Year 1 ......................................................................................................................... 26 Table 6 Public Participation and Awareness in Year 1 .......................................................................................... 26 Table 7 Publications in Year 2 .......................................................................................................................................... 30 Table 8 Presentations in Year 2 ....................................................................................................................................... 38 Table 9 Established Contacts in Year 2 ......................................................................................................................... 44 Table 10 Public Participation and Awareness in Year 2 ....................................................................................... 45 Table 11 Publications in Year 3 ....................................................................................................................................... 49 Table 12 Presentations in Year 3 .................................................................................................................................... 63 Table 13 Established Contacts in Year 3 ...................................................................................................................... 71 Table 14 Public Participation and Awareness in Year 3 ....................................................................................... 72 31/08/2014 5 Version: Final D6.1.3 [Final Report on Dissemination] List of Figures Figure 1 The Numbers of Dissemination Activities during the REDUCTION Project ................................ 10 Figure 2 REDUCTION Logo ................................................................................................................................................ 13 Figure 3 Home Page of the REDUCTION Website .................................................................................................... 14 31/08/2014 6 Version: Final D6.1.3 [Final Report on Dissemination] Executive Summary The REDUCTION project is an EU-FP7 STREP project that addresses the reduction of green-house gas emissions by exploring advanced Intelligent Transportation Systems analytics. The project has seven work packages. The first work package (WP1) elaborates on state-of-the-art devices and protocols for vehicle-to-infrastructure
Recommended publications
  • Oscar Hammerstein II Collection
    Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966.
    [Show full text]
  • Mindsweep 2.0 – Questions I
    Karnataka Quiz Association Presents MindSweep 2012 Part I – The Arts, Literature, Cinema, Music, Sports and Leisure PLEASE OPEN THIS BOOKLET ONLY WHEN YOUR PROCTOR SAYS “START”. PLEASE FAMILIARISE YOURSELF WITH THESE DETAILS BEFORE THE START. This BOOKLET contains 100 questions, divided into 5 topics. It comprises Part I of the contest. Your cumulative score across the ten topics will determine your ranking. Rules: 1. You have 60 minutes to answer as many of these questions as possible. 2. Each section ends with a 2-pointer. The maximum total score in each section is 21. 3. Papers will be swapped with another player for marking at the end of 60 minutes. 4. Unless stated in the question, last names will suffice. However, if you give the wrong first name, your answer will be incorrect! 5. Phonetically correct answers will be accepted. 6. After the five topics have been marked, you will get your paper back and you have 5 minutes to check you agree with the marking. Disputes must be referred to the coordinator in this time. Please indicate which answer(s) you are querying with a large ―?‖ question mark. 7. At the end of marking, your checker should copy your scores into the table on this sheet. If you agree with their marking, sign next to the score(s) to confirm this. Your complete script should then be handed in (it will be returned to you later). Once this has been done, no further discussions will be entered into about your score. The score signed for will be considered to be correct.
    [Show full text]
  • News from the Library of Congress
    News from the Library of Congress Music OCLC Users Group Annual Meeting Music Library Association Annual Meeting St. Louis, Missouri, February 19-23, 2019 Music Division Collection Development During fiscal year 2018 (October 1, 2017-September 20, 2018), specialist staff continued to engage in a wide range of collection development activities toward establishing and achieving the set annual acquisition strategies for digital and non-digital materials. These activities included updating the top desiderata list; identifying research areas/subjects to be enhanced and/or specific collections/items to be acquired -- through contact with such sources of potential acquisitions as donors, collectors, dealers, government agencies, collecting institutions, and auction houses. This year’s top desiderata list continued to focus on important collections of American figures in Broadway, song-writing, jazz, and dance. Film music has been added to this list of desiderata. The Acquisitions Committee continued to strategize over random and unforeseen opportunities for manuscript items that related significantly to our collections. Analysis of research value and the fitness for our collections remain paramount concerns for acquisitions. Acquisition trips have been very fruitful for identifying materials the Library does not need as well as identifying potential conservation issues. The Division has also considered appropriate items on sites such as eBay. Each year incoming acquisitions statistics swing wildly from one extreme to another – mainly due to the size of a particular collection or collections. Last year saw the arrival of the Billy Strayhorn Papers, a collection estimated originally at about 8,000 items. Because of document counting practices, the number doubled to 17,700, reflected by the processing of financial papers and other documents.
    [Show full text]
  • Download Download
    S K E N È Journal of Theatre and Drama Studies 5:2 2019 SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Francesco Lupi, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editor Francesco Lupi. Assistant Managing Editors Valentina Adami, Emanuel Stelzer, Roberta Zanoni. Books Reviews Editors Chiara Battisti, Sidia Fiorato Staff Francesco Dall’Olio, Bianca Del Villano, Marco Duranti, Carina Louise Fernandes, Maria Serena Marchesi, Antonietta Provenza, Savina Stevanato. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Richard Allen Cave, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Daniela Guardamagna, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2019 SKENÈ Published in December 2019 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://skenejournal.skeneproject.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, Verona (I) Contents Manuela Giordano
    [Show full text]
  • FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini
    Pat McCorkle, CSA Jeffrey Dreisbach, Casting Partner Katja Zarolinski, CSA Kristen Kittel, Casting Assistant FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini. Starring: William Shatner, Christopher Lloyd, Jean Smart. THE MURPHYS (Independent Feature; Producer(s): The Murphy's LLC). Director: Kaitlan McGlaughlin. BERNARD & HUEY (In production. Independent Feature; Producer(s): Dan Mervish/Bernie Stein). Director: Dan Mervish. AFTER THE SUN FELL (Post Production. Independent feature; Producer(s): Joanna Bayless). Director: Tony Glazer. Starring: Lance Henriksen, Chasty Ballesteros, Danny Pudi. FAIR MARKET VALUE (Post Production. Feature ; Producer(s): Judy San Romain). Director: Kevin Arbouet. Starring: Jerry Adler, D.C. Anderson, Michael J. Arbouet. YEAR BY THE SEA (Festival circuit. Feature; Producer(s): Montabella Productions ). Director: Alexander Janko. Starring: Karen Allen, Yannick Bisson, Michael Cristofer. CHILD OF GRACE (Lifetime Network Feature; Producer(s): Empathy + Pictures/Sternamn Productions). Director: Ian McCrudden. Starring: Ted Lavine, Maggy Elizabeth Jones, Michael Hildreth. POLICE STATE (Independent Feature; Producer(s): Edwin Mejia\Vlad Yudin). Director: Kevin Arbouet. Starring: Sean Young, Seth Gilliam, Christina Brucato. MY MAN IS A LOSER (Lionsgate, Step One Entertainment; Producer(s): Step One of Many/Imprint). Director: Mike Young. Starring: John Stamos, Tika Sumpter, Michael Rapaport. PREMIUM RUSH (Columbia Pictures; Producer(s): Pariah). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. JUNCTION (Movie Ranch; Producer(s): Choice Films). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. GHOST TOWN* (Paramount Pictures; Producer(s): Dreamworks SKG). Director: David Koepp. Starring: Ricky Gervais, Tea Leoni, Greg Kinnear. WAR EAGLE (Empire Film; Producer(s): Downstream Productions). Director: Robert Milazzo. Starring: Brian Dennehy, Mary Kay Place, Mare Winningham.
    [Show full text]
  • The Nordic Region for All
    THE NORDIC REGION FOR ALL Nordic co-operation on universal design and accessibility Published by the Nordic Centre for Welfare www.nordicwelfare.org © May 2016 (updated and translated into English in September 2016) Part of the ”Disability perspective, gender and diversity” project Author: Maria Montefusco [email protected] Publisher: Ewa Persson Göransson ISBN: 978-91-88213-07-5 Edition: 300 Graphic design: Idermark och Lagerwall Reklam AB Press: TB Screen AB The report can be downloaded from www.nordicwelfare.org/publikationer CONTENTS INTRODUCTION .......................................................................................... 5 Summary and recommendations for co-operation for a nordic region with better universal design ...................................................... 6 Summary and expert group recommendations for cooperation on a more universally designed Nordic region .................................... 8 Value added through nordic co-operation on universal design and accessibility .................................................................................. 10 Members of the expert panel on universal design and accessibility ......................................................................................... 12 EQUAL OPPORTUNITY, ACCESSIBILITY AND SUSTAINABLE COMMUNITY DEVELOPMENT ................................................................. 14 The value of universal design ............................................................. 14 3 The nordic welfare model and universal design
    [Show full text]
  • LGBTQ+ Artists Represented Int the Performing Arts Special Collections
    LGBTQ+ Artists Represented in the Performing Arts Special Collections in the Library of Congress Music Division Aaron Copland with Samuel Barber and Gian Carlo Menotti, 1945 (Aaron Copland Collection, Box 479 Folder 3) Compiled by Emily Baumgart Archives Processing Technician January 2021 Introduction The artistic community has always had many LGBTQ+ members, including musicians, dancers, choreographers, writers, directors, designers, and other creators. The Music Division holds a wealth of information about these LGBTQ+ artists in its performing arts special collections, which contain musical scores, correspondence, scripts, photographs and other documents of their lives and careers. This survey brings together some of the highlights from these holdings, providing an opportunity to learn more about LGBTQ+ creators and to recognize and celebrate their artistic achievements. The sexual and gender identity of many historical figures has been obscured over time; moreover, it can be difficult to determine how such individuals would identify by today’s terminology, especially when little of their personal life is known. Other figures, however, have disclosed their identity through their private correspondence or other writings. We do not wish to ascribe to any person an identity that they may have disagreed with, but at the same time we recognize that many of the queer community’s accomplishments have been hidden through oppression, prejudice, and forced closeting. By increasing awareness of LGBTQ+ identity in the Music Division’s special collections, we can make relevant primary source materials more readily accessible for students, educators, and scholars to study these creators and their contributions. This survey does not claim to be comprehensive, neither in terms of identifying every LGBTQ+ artist within the Music Division’s special collections nor in terms of identifying every collection in which those artists are represented.
    [Show full text]
  • O'casey, Sean List 75
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 75 Sean O’Casey Papers (MS 37,807 - MS 38,173, MS L 93) Accession No. 5716 Correspondence between Sean O’Casey and academics, agents, writers, theatre producers, actors, friends, fans and others. Also; copy articles, notes, sketches and proofs, along with press cuttings and production programmes from Ireland, Britain, Europe and North America. Compiled by Jennifer Doyle, 2003 Table of Contents Introduction 4 Select Bibliography 8 I. Correspondence 9 I.i. Academics, Students & Librarians 9 I.ii. Actors 39 I.iii. Agents & Publishers 45 I.iv. Artists, Designers & Musicians 66 I.v. Awards and Honours 70 I.vi. Business and Financial Affairs 72 I.vi.1. Domestic 72 I.vi.2 Royalties & Tax 73 I.vii. Clerics 77 I.viii. Critics 82 I.ix. Family 90 I.x. Fan Mail and Unsolicited Letters 92 I.xi. Friends 104 I.xii. Gaelic League and St Laurence O’Toole Pipe Band 111 I.xiii. Invitations and Requests 114 I.xiii.1. Political 114 I.xiii.2. Charitable 124 I.xiii. 3. Literary 126 I.xiii. 4 Social 137 I.xiv. Labour Movement 140 I.xv. Magazines and Periodicals 150 I.xvi. Newspapers 166 I.xvii. Theatre, Film and other Productions 181 I.xvii.1 Theatre Producers & Directors (alphabetically by individual) 198 I.xvii.2. Film & Recording 220 I.xvii.3. Television and Radio 224 I. xviii. Translations 232 I.xix. Women 236 I.xx. Writers - Aspiring 240 I.xxi. Writers 241 I.xxi.1. Union of Soviet Writers 257 II.
    [Show full text]
  • Nordic Collaboration Is Greater Than Ever, Pages 6-7
    NORDVISION I TAL 2016 1 Annual Report 2017-2018 English version nordvision NEW RECORD: Nordic collaboration is greater than ever, pages 6-7 HISTORIC MUSKETEERS’ OATH on Nordic drama, pages 20-21 SKAM MUST DIE - long live SKAM, pages 46-47 18 Editorial team: Secretary General Henrik Hartmann (Chief Editor) Journalist Ib Keld Jensen (Co-Editor) Project Manager Kristian Martikainen Project Manager Øystein Espeseth-Andresen Contents Journalist Michaela von Kügelgen Journalist Randi Lillealtern Designer Lars Schmidt Hansen Introduction 4-5 Another record year 6-7 Photos: Looking back: 2017 figures 8-9 30 Front cover: Den døende detektiv: Peter Cederling/SVT Content collaboration Herrens veje: Tine Harden/DR Snöfall: NRK Children 10 Drama 18 Page 3 Factual 26 Baldur Bragason@Filmlance Int / Nimbus Film, Mystery Productions for RUV, Culture 30 Jonas Bendiksen, DR Undervisning, NRK Investigative journalism 36 12 Youth & young adults 44 Back cover: The Independence Day: Yle Drama Knowledge 50 Samernes tid: Susanna Hætta Programme exchange 56 Reimleikar: RUV Nyt rekordår Sig mig engang: Har jeg ikke læst den artikel før? ”Antallet samproduktioner er over alle forventninger ikke mindst fokuseret på færre, men større og vigtigere public service-opgaver Hvis læsere af Nordvisions årsrapport sidder tilbage med en set i lyset af, at alle de nordiske public service tv-stationer er i gang det kommende år, og det jo også kommer til at smitte af på samarbejdet, Knowledge exchange 62 fornemmelse af deja vu, så er der ikke noget at sige til det. med en digital transformation. Dermed producerer de mindre flow når det gælder volumen,” påpeger hun.
    [Show full text]
  • Øyne På Broadway Amerikansk Innflytelse På Musikalscenen I Norge
    54 ALLES ØYNE PÅ BROADWAY AMERIKANSK INNFLYTELSE PÅ MUSIKALSCENEN I NORGE SIGRID ØVREÅS SVENDAL Verdens teatersjefer ser mot Broadway. Oktober 1958 blir alle tiders største sesong, er det forkynt fra teatrets Mekka, Broadway. Og det er ikke til å undre seg over at alle verdens teatersjefer følger rapportene fra New Yorks teatergate, som var det deres egen feberkurve. 74 prosent av alle uroppførte stykker i Europa har startet sitt sei- ersløp nettopp på Broadway.1 Teaterrepertoaret i Norge i de første tiårene etter 1945 viser tydelig at amerikan- ske musikaler dominerte de store scenene. Oklahoma!, Showboat, Kiss me Kate, Annie get your gun, My Fair Lady og West Side Story ble raskt både økonomiske og publikumsmessige suksesser. Disse musikalene hadde alle skandinaviske premi- erer i perioden 1949 til 1965. Norge var ikke enestående, tvert i mot, de ameri- kanske musikalene var sterkt synlige i store deler av Europa etter 1945, i en tid hvor amerikansk kultur generelt hadde stor betydning.2 Betyr dette at de norske teatrene ble amerikanisert i tiårene etter andre verdenskrig? I denne artikkelen vil jeg se nærmere på hvorfor de amerikanske musikalene ble så populære som de ble. Artikkelens første del vil kartlegge hvordan musika- lene fant veien fra USA til Norge, og med det identiisere hvilke overføringskana- ler som var de viktigste. Musikalene Kiss me Kate og West Side Story brukes som illustrerende eksempler. Jeg vil også diskutere om musikalene ble ansett som po- pulærkultur. Artikkelens andre del tar for seg mulig årsaker til at de amerikanske musikalene ble så dominerende som de ble. Kan populariteten forklares med det amerikanske kulturdiplomatiet under den kalde krigen, som i stor skala sendte ut amerikanske kulturuttrykk til resten av verden? Dersom musikaler utgjorde en viktig del av kulturdiplomatiet, kan det ha bidratt til gjennomslaget musikalene 1 Verdens Gang (VG) 10.10.1958: ”Verdens teatersjefer ser mot Broadway”.
    [Show full text]
  • Johan Franzon – Dokumenterat 48 2016
    DOKUMENTERAT 48 38 Från en vrå för två till en sommar i Ohio Svenska musikalöversättare 1930–2013 Johan Franzon1 Den kanske första, länge enda boken ägnad helt åt musikteateröversättning skrevs 1978 av Kurt Honolka. Han använde begreppet »Operndeutsch« för att karakterisera ett slags översättningsspråk som alla operaälskare borde ogilla: svulstigt, kitschigt och onaturligt.2 Det dröjde, men så sakta har diskussion av sång i översättning växt till ett forskningsintresse. Det är som ett erkännande när en forskningsöversikt publiceras i en stor, över- sättningsvetenskaplig handbok,3 och som en explosion när två böcker i ämnet utkommer samma år: en om operaöversättning och en om hur sångtexter översätts för olika syften, inte bara sångbart.4 På svenska har det skrivits en del om operaöversättning, men en ny bok kunde gärna få komplettera Bengt Haslums gamla, lättsamma operett- och musikalbok från 1979 och Nordströms nyare men ännu mer lättsamma och inkom- pletta illustrerade verköversikt.5 Frågorna som först infinner sig när det gäller denna typ av textarbete är: Hur gör man? Vad krävs för att lyckas med ett så särdeles knepigt, multimedialt översättaruppdrag? Vari består svårigheterna och vilka strategier kan översättare ta till? Men det vore också värt att fråga: Kan man urskilja trender och tendenser i hur musikaler har översatts till svenska under 1900-talet? Kan man spåra förändringar till exempel i fråga om det amerikanska kulturinflytandet, respekten för genren eller synen på sång: som seriös dramatik eller underhållning? Går det att karakterisera en textsort som ’musikalsvenska’? Vad innebär det att sätta nya ord till en sångtext som är djupt inbäd- dad i både en viss musikalisk komposition och en teateruppsättning? Åtminstone den frågan har jag tidigare sökt besvara övergripande, genom 1.
    [Show full text]
  • Gindt Selected CV and Publications
    Dr Dirk Gindt CURRICULUM VITAE [email protected] EDUCATION AND DEGREES 2007: Degree of Doctor of Philosophy, SubJect: Theatre Studies, Stockholm University, Sweden (awarded 5 November 2007) 2002: Master of Arts with a MaJor in Theatre History and Theory, Stockholm University, Sweden (awarded 20 June 2002) 1995: Diplôme de fin d’études secondaires, enseignement moderne, orientation littéraire, section langues vivantes. Lycée Hubert Clément, Esch-sur-AlZette, Luxembourg (awarded June 1995) PROFESSIONAL APPOINTMENTS Jan 2020 –: Professor of Theatre Studies, Department of Culture and Aesthetics, Stockholm University, Sweden Sept 2015 – Dec 2019: Associate Professor (docent), tenured-on-appointment, Theatre Studies, Department of Culture and Aesthetics, Stockholm University, Sweden Sept 2014 – April 2015: Lecturer, Department of Theatre, Concordia University, Montréal, Canada Jan 2013 – May 2014: Visiting Scholar/Artist-in-Residence, Department of Theatre, Concordia University, Montréal, Canada 2012: Promotion to Associate Professor (docent), Theatre Studies, Stockholm University, Sweden (effective 10 October 2012) Nov 2011 – June 2013: Research Fellow (forskarassistent), Theatre Studies, Department of Musicology and Performance Studies, Stockholm University, Sweden Dec 2009 – Oct 2011: Post-Doctoral Associate (postdoc), Centre for Fashion Studies, Stockholm University, Sweden Feb 2008 – Nov 2009: Assistant Professor (universitetslektor), contractually limited: Centre for Fashion Studies, Stockholm University April 2006 – Dec 2007: Instructor
    [Show full text]