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Cultural Anthropology Through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-Based Sentiment
Cultural Anthropology through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-based Sentiment Peter A. Gloor, Joao Marcos, Patrick M. de Boer, Hauke Fuehres, Wei Lo, Keiichi Nemoto [email protected] MIT Center for Collective Intelligence Abstract In this paper we study the differences in historical World View between Western and Eastern cultures, represented through the English, the Chinese, Japanese, and German Wikipedia. In particular, we analyze the historical networks of the World’s leaders since the beginning of written history, comparing them in the different Wikipedias and assessing cultural chauvinism. We also identify the most influential female leaders of all times in the English, German, Spanish, and Portuguese Wikipedia. As an additional lens into the soul of a culture we compare top terms, sentiment, emotionality, and complexity of the English, Portuguese, Spanish, and German Wikinews. 1 Introduction Over the last ten years the Web has become a mirror of the real world (Gloor et al. 2009). More recently, the Web has also begun to influence the real world: Societal events such as the Arab spring and the Chilean student unrest have drawn a large part of their impetus from the Internet and online social networks. In the meantime, Wikipedia has become one of the top ten Web sites1, occasionally beating daily newspapers in the actuality of most recent news. Be it the resignation of German national soccer team captain Philipp Lahm, or the downing of Malaysian Airlines flight 17 in the Ukraine by a guided missile, the corresponding Wikipedia page is updated as soon as the actual event happened (Becker 2012. -
Literature and Film of the Weimar Republic (In English Translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 Weeks), 10:00 A.M
Instructor: Marion Gerlind, PhD (510) 430-2673 • [email protected] Literature and Film of the Weimar Republic (in English translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 weeks), 10:00 a.m. — 12:30 p.m. University Hall 41B, Berkeley, CA 94720 In this interactive seminar we shall read and reflect on literature as well as watch and discuss films of the Weimar Republic (1919–33), one of the most creative periods in German history, following the traumatic Word War I and revolutionary times. Many of the critical issues and challenges during these short 14 years are still relevant today. The Weimar Republic was not only Germany’s first democracy, but also a center of cultural experimentation, producing cutting-edge art. We’ll explore some of the most popular works: Bertolt Brecht and Kurt Weill’s musical play, The Threepenny Opera, Joseph von Sternberg’s original film The Blue Angel, Irmgard Keun’s bestseller The Artificial Silk Girl, Leontine Sagan’s classic film Girls in Uniform, Erich Maria Remarque’s antiwar novel All Quiet on the Western Front, as well as compelling poetry by Else Lasker-Schüler, Gertrud Kolmar, and Mascha Kaléko. Format This course will be conducted in English (films with English subtitles). Your active participation and preparation is highly encouraged! I recommend that you read the literature in preparation for our sessions. I shall provide weekly study questions, introduce (con)texts in short lectures and facilitate our discussions. You will have the opportunity to discuss the literature/films in small and large groups. We’ll consider authors’ biographies in the socio-historical background of their work. -
By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975
------------------------------------------------------------------------------ By Jeeves Music: Andrew Lloyd Webber Lyrics: Alan Ayckbourn Book: Alan Ayckbourn Premiere: Tuesday, April 22, 1975 ------------------------------------------------------------------------------ The Code of the Woosters BERTIE I obey the Code of the Woosters. It's a simple philosophy. When perhaps a chap's in trouble. I respond with alacrity. And if my fellow men have problems Whatever they might be They call on me The sterling Wooster B. For despite This easy nature Come the evening When battle dawns To see a Wooster Grab the livestock by both the horns For when a Wooster's mask of pleasure Becomes a steely stare You'll know he's there He'll never turn a hair What would a chap do without it? How would he get through without it? How could he stay true wihtout the Code of the Woosters? If you're at sea, I shall be there, even put off tea to be there Woosters have swum oceans for the Code of Allegiance duly owed to the Wooster Code What a load If a girl Is in the doldrums Not a paddle To her name I'll be there Though frankly speaking Womanizing's not my game But if she's really in a lather Wild eyed and hat askew He'll see her through Old you know who... Whenever it calls, can't ignore it, even give up Ascot for it Woosters have died gladly for the code of For that rugged, heavy load called the Wooster Code What a load Take my card In case you need me, if you're jousting a losing cause Like the chap Who wins the double I can rattle The natural laws So if you're eaten up with anguish I'll snatch you from its jaws No second's pause From one sincerely yours.. -
A Kitchenette Cooks up a New Solo Cabaret Show by Dan Pine Staff Writer
Friday October 7, 2005 - Thursday October 13, 2005 Thursday October 6, 2005 A Kitchenette cooks up a new solo cabaret show by dan pine staff writer Many cabaret singers cite artists like Judy Garland and Ella Fitzgerald as influences. Lua Hadar loves both, but she adds another to her personal pantheon: Lili von Shtupp, the Marlene Dietrich send-up from “Blazing Saddles.” Hadar sings the von Shtupp classic “I’m Tired” in her new solo cabaret show “It’s About Time Already,” which premieres at the Purple Onion in San Francisco on Friday, Oct. 7. She will have two other performances later this month and next month in Napa and Larkspur. Von Shtupp was played by the late Madeline Kahn in the classic 1974 Mel Brooks film, and Hadar hopes to generate the same kind of comic energy in her show that Kahn did. After all, she performs the tune with a troop of dancing Chassids, in a kind of “Fiddler”-meets-Madonna moment. Fans of Hadar’s cabaret trio The Kitchenettes already know about her sense of humor. But the new show isn’t all about laughs. In fact, the show (and an accompanying CD of the same name) was born out of personal tragedy. Hadar’s mother died last year, leaving the singer as the last living member of her original nuclear family. The resulting grief, and the growing consciousness of mortality, spurred her to create the CD and solo show. “[The show and CD are] about my coming of age emotionally in the middle third of life,” she says. -
Kadimah Yiddish Theatre 2021 SEASON PREVIEW Kadimah.Org.Au
Kadimah Yiddish Theatre 2021 SEASON PREVIEW kadimah.org.au When theatres suddenly went dark in March 2020, lightbulbs of another type switched on for us at Kadimah Yiddish Theatre. While our live shows were cancelled and you, our dear loyal audience, were stuck at home, sparks were flying in our imaginations and in our home studios. Audio books were recorded, Digital Shakespeare Monologues in Yiddish were created and live Zoom conversations were had with leading Yiddishists around the world. All through the long months of COVID-19 lockdown, the creative team has been busy writing, researching and composing a program of exciting, new and original Yiddish theatre projects that we can’t wait to share with you. As restrictions in Victoria gradually ease, our plans to present and perform these new projects are coming to life. We’ll keep you posted on dates as we know more. But in the meantime, we want to share some of the exciting ideas we’re working on - and chalishing for you to see and enjoy. Biz 2021! Galit Klas & Evelyn Krape Artistic Co-Directors, Kadimah Yiddish Theatre Durkh a Modnem Gloz Through a Strange Lens GALIT KLAS AND JOSH ABRAHAMS If you can imagine a mash-up of Laurie Anderson, Marlene Dietrich and Kraftwerk, all in Yiddish, you might come close to the breathtakingly original musical concept that is Durkh a Modnem Gloz. The brainchild of world-renowned composer Josh Abrahams and performer Galit Klas, it sets an extraordinary electronic score to lyrics based on Yiddish poetry written by women. With alternatively dreamy, cinematic, robotic techno and Eurodance style tunes, Durkh A Modnem Gloz establishes Yiddish electronic music as a genre. -
German Cinema As a Vehicle for Teaching Culture, Literature
DOCUMENT7RESUMEA f ED 239 500 FL 014 185 AUTHOR' Duncan, Annelise M. TITLE German Cinema as a Vehicle for Teaching Culture, . Literature and Histoy. 01 PUB DATE Nov 83 . NOTE Pp.; Paper presented at the Annual' Meeting of the. AmeriCan Council on the Teaching of Foreign Languages (San Franci co, , November 24-26, 1993), PUB TYPE Guides - Cla r om User Guides (For Teachers) (052) Speeches/Conference Papers "(150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Art Education; *Cultural Education; . *Film Study; *German; Higher Educati-on; History InStruction; Instructional Materials; Interdisciplinary Approach; *Literature Appreciation; *SeCond Language Instruction; Social HiStory ABSTRACT The use of German film in four instructional; contexts, based on experiences in developinga university course,, is aiScussed. One use is as part ofa German culture course taught in German, emphasizing the role of film as a cultural statement of ,its time, intended to be'either a social criticismor a propaganda tool.t A second use is integration of the film intoa literature course taught in German, employing a series of television' plays acquired from the Embassy of Wkst Germany. Experience with filmas part of an interdisciplinary German/journalism course offers ideas for,a third use: a curriculum, offered in Engl4sh, to explore a hi toric pdriod or film techniques. A fourth use is as an element of p riod course taught either in German or,if interdepartmental, En fish, such as a. course on t'he artistic manifestations of expres (Author/MSE) O 9- * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * * * * * * * * 4* * ** * * * * * * * * * *********** Reproductions supplied by EDRS are the best thatcan be made '* from the original document. -
Addendum III—The Return
AODENIDUMI --------------- Addendum III The Return Gear Technology's bimonthly aberration - gear trivia, humor, weirdness and oddments for the edification and amusement of our readers. Contributions are welcome. Gears on fil'm He)'; I've Been Looking 'Of OneoHhose • PUZZLE .• PUZZLE. PUULE • PUZZLE •. It's Friday night at the video store, The Missouri State Highway and a The supply room at Wacky ~ H ~ and as usual, all the new releases are Transportation Department is trying to i Widgets Gearrnoror Company ;; checked out. You can't decide between give away the Mark Twain Memorial contains two shelves, Shelf A has III "I Killer Teenage Cheerleaders from Bridge across the Mississippi River at ... C half spur gears and half helical H Outer Space and a documentary on the Hannibal, MO, No, they're not kidding. H i= gears, Shelf B has two-thirds spur I; mating rituals of the hippopotamus. The cost [0 repair the bridge, which is : gears and one-third helical. Gear Technology is here to help. listed on the National Register of His- ! H !Every g·earmotor made by H The Addendum page is proud to pre- toric Places, is greater than the cost to H Wa.cky Widgets turns out slightly ;;; sent a list of films for gear lovers. All build a new one, so the state must try to i ~ different (that's why they're of these films feature the industry's find an alternative use for the structure ! Wacky). Their production method H own star, the late Luella Gear. before it can tear it down, e H Born in 1900 in New York, Gear More than 100 proposals were sub- Do ls to blindfold the foreman, spin Iii made her broadway debut in 1917. -
Acting Hysteria: an Analysis of the Actress and Her Part
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 1992 Acting Hysteria: An Analysis of the Actress and Her Part Lydia Stryk The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4291 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
— Da Gabriele D'annunzio a Eleonora Duse Ovvero Dal Fuoco Alle Laudi
A ELEONORA DUSE GABRIELE D’ANNUNZIO DA Italianistica 3 — Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco MARIANO alle Laudi Emilio Mariano a cura di Maria Rosa Giacon Edizioni Ca’Foscari Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Italianistica Collana diretta da Tiziano Zanato 3 Edizioni Ca’Foscari Italianistica Direttore Tiziano Zanato (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Alberto Beniscelli (Università di Genova, Italia) Giuseppe Frasso (Università Cattolica di Milano, Italia) Pasquale Guaragnella (Università di Bari, Italia) Niva Lorenzini (Università di Bologna, Italia) Cristina Montagnani (Università di Ferrara, Italia) Matteo Palumbo (Università di Napoli, Italia) Carla Riccardi (Università di Pavia, Italia) Lorenzo Tomasin (Università di Losanna, Svizzera) Comitato di redazione Saverio Bellomo (Università Ca’ Foscari Venezia, Italia) Ilaria Crotti (Università Ca’ Foscari Venezia, Italia) Serena Fornasiero (Università Ca’ Foscari Venezia, Italia) Pietro Gibellini (Università Ca’ Foscari Venezia, Italia) Daria Perocco (Università Ca’ Foscari Venezia, Italia) Ricciarda Ricorda (Università Ca’ Foscari Venezia, Italia) Silvana Tamiozzo (Università Ca’ Foscari Venezia, Italia) Piermario Vescovo (Università Ca’ Foscari Venezia, Italia) Direzione e redazione Dipartimento di Studi Umanistici Palazzo Malcanton Marcorà Dorsoduro 3484/D 30123 Venezia http://edizionicafoscari.unive.it/col/dbc/20/Italianistica Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano -
Lettera Da San G Iorgio
Lettera da San Giorgio Lettera da San Year XIX, number 37. Six-monthly publication. September 2017 – February 2018 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata / Taxe perçue PROGRAMMES (SEPTEMBER – FEBRUARY 2017) 12 MAY 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 30 NOV 2018 Le Stanze del Vetro Installation Qwalala by Pae White 1 SEP – 15 NOV 2017 VENICE, PALAZZO CINI GALLERY AT SAN VIO Exhibition Lyda Borelli: A Leading Lady of the 20th Century 4 SEP VENICE, TEATRO LA FENICE 19, 21, 22 SEP VENICE, LA CASA DEL CINEMA – VIDEOTECA PASINETTI 8 NOV 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Cinema Series Lyda Borelli: Film Diva 9 SEP – 16 DEC 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Lo Squero Auditorium Concert Season 2017 10–17 SEP 2017 VENICE, VARIOUS VENUES The Venice Glass Week 11 SEP 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 7 JAN 2018 Le Stanze del Vetro Exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini 12–15 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Dialoghi di San Giorgio What’s the Body of the Body Politic? Sovereignty, Identity, Ecology 21–22 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Thirteenth World Conference on the Future of Science The Lives to Come 4, 10, 18 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Books at San Giorgio 9–13 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE The Egida Sartori and Laura Alvini Early Music Seminars Roman de Fauvel. Music and Corruption in the Paris of Philip the Fair. -
Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
Harbin_Text.qxd 12/3/2004 12:50 PM Page 252 Laurents’s ability to direct is more often lauded than his writing. He regularly unites all elements of the production—music, voice, setting, movement, and picturization—to create vibrant dramatic moments. The understanding of structure and character honed in his writing assists in drawing out fully human characterizations. His ability to ‹nd new or Laurents underutilized talent—Jane Fonda in Invitation to a March, Lansbury in 252 Anyone Can Whistle, George Hearn in La Cage aux Folles—signi‹es an astute eye and ensures his lasting in›uence. A very sexual man—his ‹rst gay experience was at thirteen and he was more interested in quantity of partners than quality for many years— Laurents struggled with his homosexuality in psychotherapy, keeping it out of his play Heartsong (1946) and claiming that he would have excluded it as a subtext from Home of the Brave (Laurents, 65, 53). At the same time, he accepted his homosexuality and is proud of how “truth- fully” it was treated in his ‹rst movie, Rope (131). There are biographical aspects of his work to explore (particularly in The Enclave), as well as the- matic obsessions, such as the ‹gure of the complicated, boyish blond (i.e., the major in Home of the Brave, the disillusioned artist in Time of the Cuckoo, the characters played by Hatcher, and Robert Redford’s Hubbell in The Way We Were). Laurents has identi‹ed his own recurrent themes as discovery, acceptance, prejudice, and betrayal (4)—themes with which any homosexual can empathize. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOORAY FOR HOLLYWOOD: GENDER AND SEXUAL NON-CONFORMITY LN THE CLASSICAL HOLLYWOOD ERA by Brett Leslie Abrams submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy [Education] in History i I Chair:lir: / a .