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Spectatrices: Moviegoing and Women’s Writing, 1925-1945 Nolan Gear Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Nolan Gear All Rights Reserved Abstract Spectatrices: Moviegoing and Women’s Writing, 1925-1945 Nolan Gear How did cinema influence the many writers who also constituted the first generation of moviegoers? In Spectatrices, I argue that early moviegoing was a rich imaginative reservoir for anglophone writers on both sides of the Atlantic. Coming to cinema from the vantage of the audience, I suggest that women of the 1920s found in moviegoing a practice of experimentation, aesthetic inquiry, and social critique. My project is focused on women writers not only as a means of reclaiming the femininized passivity of the audience, but because moviegoing offered novel opportunities for women to gather publicly. It was, for this reason, a profoundly political endeavor in the first decades of the 20th century. At the movies, writers such as Jessie Redmon Fauset, Zora Neale Hurston, H.D., Dorothy Richardson, and Virginia Woolf developed concepts of temporary community, alternative desire, and discontinuous form that they then incorporated into their literary practice. Where most scholarship assessing cinema’s influence on literature is governed by the medium-specificity of film, my project emphasizes the public dimension of the movies, the fleeting and semi-anonymous intimacy of the moviegoing audience. In turning to moviegoing, Spectatrices opens new methods of comparison and cross-canonical reorganization, focusing on the weak social ties typified by moviegoing audiences, the libidinal permissiveness of fantasy and diva-worship, the worshipful rhetoric by which some writers transformed the theater into a church, and most significantly, the creation of new public formations for women across different axes of class, gender, and race. -
Austin Games Conference 2005
Why are we here? 28 th october 2005 Austin games conference profesSor Richard A. Bartle University of esSEx introduction • It is a truth universally acknowledged… • that I’ve called this talk “why are we here?” – I include as “we” those who would have been here if they hadn’t been out ”Networking” until 2:30am this morning • I do mean the question quite literally: why are any of us in this location right now ? • This is actually a meaningful question… 1 Deep and meaningful Put another way • Point of fact: you are All goinG to DIE • Given this information, why are you here ? In this converted balLroOm ? • Why aren’t you in – paris? – China? – Darfur? – Bed? – World of warcraft ? • Hmm, I guess some of you are in there… 2 Short answer • Well, you’re here because you’re mMorpg developers and this is a mmorpg developers’ conference – officially, “networked game development” conference… • [aside: I’m gonna call them virtual worlds , not mMorpgs ] – I’m not giving up on my book’s title yet , dammit! • But this leads to another question: Another question • Why are you [mmorpg] virtual world developers? • Why aren’t you – regular game developers? – Novelists? – Truck drivers? – Nuclear power station software engineers? – Lawyers? – level 80 on runescape with 2 blue masks, 2 green masks, 2 santa hats and a red party hat ? • “Because it would cost me $5,100 on ebay” (44 bids, 13 hours to go, and simbatamer realLy wants it) 3 hackers • Notice the subtitle answers • Some posSible answers: – You’re a vw developer Purely by acCident – You wanted a -
Bojin-Diss-Library Copy
Exploring the Notion of ‘Grinding’ in Massively Multiplayer Online Role Playing Gamer Discourse: The Case of Guild Wars by Nis Bojin M.A. (Communication & Culture), York University, 2005 B.A. (Psychology/Classical Studies Double Major), York University, 2000 Dissertation Submitted In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In the School of Interactive Arts and Technology Faculty of Communication, Art and Technology © Nis Bojin 2013 SIMON FRASER UNIVERSITY Summer 2013 Approval Name: Nis Bojin Degree: Doctor of Philosophy Title of Thesis: Exploring the Notion of ‘Grinding’ in Massively Multiplayer Online Role Player Gamer Discourse Examining Committee: Chair: Halil Erhan Assistant Professor (SFU-SIAT) John Bowes Senior Supervisor Professor, Program Director (SFU- SIAT) Suzanne de Castell Co-Supervisor Professor (University of Ontario Institute of Technology) Jim Bizzocchi Supervisor Associate Professor (SFU-SIAT) Carman Neustaedter Internal Examiner Assistant Professor (SFU-SIAT) Sean Gouglas External Examiner Associate Professor, Department of Anthropology (University of Alberta) Date Defended/Approved: May 29, 2013 ii Partial Copyright License iii Ethics Statement The author, whose name appears on the title page of this work, has obtained, for the research described in this work, either: a. human research ethics approval from the Simon Fraser University Office of Research Ethics, or b. advance approval of the animal care protocol from the University Animal Care Committee of Simon Fraser University; or has conducted the research c. as a co-investigator, collaborator or research assistant in a research project approved in advance, or d. as a member of a course approved in advance for minimal risk human research, by the Office of Research Ethics. -
POWDERKEG" BALKAN THEATRE 1.0 User's Manual
BALKAN THEATRE - USER'S MANUAL "POWDERKEG" BALKAN THEATRE 1.0 User's manual Ó Falcon 4 is Intellectual Property of Infogrames Inc. 1 rev. 10c 2 BALKAN THEATRE - USER'S MANUAL Table of contents Introduction..............................................................................................................................5 Producer’s Notes.....................................................................................................................6 Download Locations................................................................................................................9 System Requirements...........................................................................................................10 Installation Instructions ........................................................................................................11 Preparing for Installation ......................................................................................................11 Installing the theater files .....................................................................................................11 Theater Activation................................................................................................................12 Additional patches................................................................................................................13 Known Issues and Common Problems...............................................................................14 Balkan Theater Features .......................................................................................................15 -
Do Tropical Typhoons Smash Community Ties? Theory and Evidence from Vietnam
Do tropical typhoons smash community ties? Theory and Evidence from Vietnam Yanos Zylberberg∗ Paris School of Economics Preliminary and incomplete draft Abstract In rural economies, risk-sharing arrangements through networks of relatives and friends are common. Indeed, contract enforcement issues impede the development of formal insurance mechanisms. However, after a disruption of the allocative instru- ments of the market, the prerequisites under which informal arrangements are feasible might evolve. I rely on a model of imperfect commitment to derive predictions on the sustainability of risk-sharing arrangements in the aftermath of extreme events. I then test these predictions on a representative panel data in Vietnam, using tropical ty- phoons trails and wind structures. The estimation of a structural equation derived by the theory is compatible with a model of imperfect commitment where the aftermath of natural disasters is associated with stronger enforcement mechanisms at commune level. Allowing for altruistic sentiments or coordination among the members of a community, I find that a resurgence of charity or a higher level of cooperation explain this unexpected result. The influence of pre-disaster social norms and existing ties to prevent disruption of integrative mechanisms in the community gives support to this interpretation. Finally, communities having already suffered important trauma show greater signs of resilience. Keywords: Natural disasters, informal insurance, coordination, imperfect commit- ment. JEL classification: D85, O12, O17, Z13 ∗PhD Candidate, Paris School of Economics, 48 Boulevard Jourdan, 75014 Paris. Phone: (33)1 43 13 63 14. Email: [email protected]. I thank the Joint Typhoon Warning Center, the National Archives and Records Administration, and the Centre for Research on the Epidemiology of Disasters for providing the data. -
Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 2 Issue 2 - Winter 2014 Article 3 2014 Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Carol M. Kaplan, Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms, 16 Vanderbilt Journal of Entertainment and Technology Law 297 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan* ABSTRACT In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make Carol M. -
A Few Good Men a La Carte a La Mode Abacus Abbey Road Abel
A Few Good Men A La Carte A La Mode Abacus Abbey Road Abel Abelard Abigail Abracadabra Academic, The Acushla Adagio Addine Adonis Adventurer, The Aesop Afterglow Against All Odds Agassiz Agenda, Hidden Aglaia Aglow Agni Agnostic, The Agon Agricola Aiden Aigretter Aik Akido Ainslie Ain't Half Hot Ain't Misbehavin Ain't She Sweet Ain't That Hot Air Combat Air Fox Air Hawk Air Supply Air Seattle Airfighter Airlord Airtight Alibi Airtramp Airy Alf Ajax Ajay Ajeeb Akado Akau Akim Akim Tamiroff Akimbo Akira Al Capp Al Jolsen Al Kader Al Rakim Al Sirat Alabama Alabaster Doll Alakazam Alan Ladd Alaskan Albert Finney Alcazar Alceste Alchemist Alchise Alder Ale Berry Ale 'N 'Arty Ale Silver Alectryon Alert Command Alexon Alfai Alfana Alfredo Alfresco Alias Jack Alias Smith Alice B Toklus Alice Fay Alice Love Alida Alien, The Alien Factor Alien Outlaw Alienator Alix All Bluff All Chic All Class All Fired Upp All Front All Go All Serene All That Jazz Allegro Allemand Alley Kat Alley Oop Allrounder Allunga Alluring Ally Sloper Alma Mater Alman Almeric Almond Blossom Almost a Tramp Almost an Angel Alpha Omega Alphonse Alsace Alter Ego Althea Alvin Purple Always There Alwina Alzire Amadis Amagi Amalthea Amarco Amaretoo Amasis Amatian Amazing Man Amazon Queen Amber Blaze Amberlight Ambrose Ambrosia Amethyst Ami Noir Amigus Amir Amlet Amontillado Amoretti Amphora Amundson Analie Anchisis Anchorman Andante Ando Andrea Doria Andrei Androcles Andromeda Andy Capp Andy Pandy Angel Eyes Angel Heart Angela Lansbury Angele Angelica Angeline Angelique Angie Baby -
Chemical Energy And
Unit 6: Energy! From Food to Forces Chemical Energy and LESSON 1 LESSON FOOD CHAIN Unit 6: Energy! From Food to Forces Chemical Energy and LESSON 1 LESSON FOOD CHAIN Food chains and webs show the flow of chemical energy through an ecosystem. From the sun to tertiary consumers. students learn about the transfer of chemical energy and how producers and consumers depend on each other. They also learn scientists classifiy living things based on what they eat. Table of Contents 4 Launch! Sun. Chemical energy passing through the food chain starts with the sun. 6 Chemical Collisions A1: Chemical Energy. Hydrogen and helium are the chemical elements in the sun. 12 Productive Primary Producers A2: Producers. Producers use energy from the sun during photosynthesis. 18 Primary Producer Eaters A3: Primary Consumers. Primary consumers get energy by eating producers. 26 Consuming Critters A4: Secondary Consumers. Secondary consumers get energy by eating primary consumers. 34 Web of Life A5: Food Chains and Webs. Food chains and webs show the transfer of chemical energy in an ecosystem. 50 Tropical Trophic Tiers A6: Energy Pyramid. Scientists show energy transfers from the sun to producers to consumers with trophic levels. Launch! (Sun) SUN! where does chemical energy begin in a food chain? Chemical energy passing through the food chain starts with the sun. Unit 6: Chemical Energy and Food Chain Ready? Materials Nothing to prepare. Sticky notes Pencil Set? • Unit 4-Lesson 1-All Activities: Sun • Unit 6-Lesson 1-Activity 1: Chemical Collisions (Chemical Energy) • Unit 6-Lesson 1-Activity 2: Productive Primary Producers (Producers) • Unit 6-Lesson 1-Activity 3: Primary Producer Eaters (Primary Consumers) • Unit 6-Lesson 1-Activity 4: Consuming Critters (Secondary Consumers) • Unit 6-Lesson 1-Activity 5: Web of Life (Food Chains and Webs) • Unit 6-Lesson 1-Activity 6: Tropical Trophic Tiers (Energy Pyramid) Hawaii Standards Go! SC.K.3.1 Develop Know-Wonder-Learn chart with students. -
SMASH™ Reference Manual ______
Using this manual ___________________________________________________________________________________ Rev #1 - June 1997 - Dolphin Integration 1 SMASH™ Reference manual ___________________________________________________________________________________ Using this manual This documentation is divided in three parts, the User manual, the Reference manual, and Appendixes. The User manual provides a complete description of the menus. The Reference manual provides details about formats, directives, syntax etc. Appendixes provide details about miscellaneous topics. To get a quick overview of the SMASH™ system, read the Chapter 1 - Files, in the Reference manual, which describes the different files that SMASH manipulates, and flip through the User Manual. Many topics can not be described without refering to other topics, so we do not recommend a linear reading of the whole manual. You will probably use the index to go to what you are interested in, and then jump to related subjects. User manual Description of menus This section details the available menus and commands. You will have to refer to this section for “operational” details. Reference manual Chapter 1 - Files An overview of the input and output files in SMASH™. How the netlists are organized, where the simulation results are etc... Chapter 2 - Preferences and conventions An overview of the preference file (smash.ini), and a summary of the general syntax rules and conventions Chapter 3 - Analog primitives The descriptions of the syntax for the analog elements (resistors, transistors etc.) Chapter 4 - Digital primitives The descriptions of the syntax for the digital primitives, together with information about digital simulation. Chapter 5 - Hierarchical descriptions How to build hierarchical netlists (use of subcircuits and modules). Chapter 6 - Analog stimuli Provides a description of the independent voltage and current sources. -
Techné: Research in Philosophy and Technology
Techné: Research in Philosophy and Technology Special Issue: Real and Virtual Places Guest Editor: Erik Champion Volume 10 Number 3 Spring 2007 Technè 10:3 Spring 2007 Contents/ i Techné: Research in Philosophy and Technology Editor, Davis Baird Editorial Assistant, David Stubblefield CONTENTS Guest Editor, Erik Champion ERIK CHAMPION, When Windmills Turn Into Giants: The 1 Conundrum of Virtual Places EDWARD RELPH, Spirit of Place and Sense of Place in 17 Virtual Realities RICHARD COYNE, Thinking through Virtual Reality: Place, 26 Non-Place and Situated Cognition RICHARD BARTLE, Presence and Flow: Ill-Fitting Clothes 39 for Virtual Worlds JEFFREY JACOBSON and LYNN HOLDEN, Virtual Heritage: 55 Living in the Past Technè 10:3 Spring 2007 Champion, When Windmills Turn Into Giants/1 When Windmills Turn Into Giants: The Conundrum of Virtual Places Erik Champion Information Environments University of Queensland Abstract While many papers may claim that virtual environments have much to gain from architectural and urban planning theory, few seem to specify in any verifiable or falsifiable way, how notions of place and interaction are best combined and developed for specific needs. The following is an attempt to summarize a theory of place for virtual environments and explain both the shortcomings and the advantages of this theory. Introduction What is Virtual Reality (VR)? According to Schroeder (1996, p. 2) it is “often taken to refer to a computer linked to a head-mounted display and a glove. VR systems give the user a sense of being inside a computer-generated environment and of being able to interact with it.” The head- mounted displays (HMDs) track where the user’s head is looking and update the virtual scene accordingly. -
Observations on Crossed Products and Invariants of Hopf Algebras
Arch. Math., Vol. 63, 119-127 (1994) 0003-889X/94/6302-0119 $ 3.30/0 1994 Birkh~iuser Verlag, Basel Observations on crossed products and invariants of Hopf algebras By MARIA E. LORENZ and MARTIN LORENZ Introduction. Let B = A ~ ~ H denote a crossed product of the associative algebra A with the finite-dimensional Hopf algebra H. By studying the process of induction of modules from A to B in the case where H is pointed we show in Section 1 that the Jacobson radicals of B and A are related by J(B) dimkH ~ J(A) B. We then specialize to the situation where A is an H-module algebra, the cocycle a is trivial (so B is a smash product), and the trace map from A to the algebra of H-invariants A n is surjective. Making essential use of the well-known Morita context linking B with the algebra of H-invariants A H we investigate the transfer of properties from A to An. In Section 3 we show, for example, that if A is right Noetherian (right Artinian) then so is A H. In fact, A is Noetherian (Artinian) as right An-module in this case. Furthermore, if Kdim (AA) exists then Kdim (A~H) exists as well and is bounded above by Kdim (AA). The results concerning the Noetherian property have first been obtained by S. Montgomery ([7], Theorem 4.4.2) and have motivated much of our research in this section. Further- more, we extend most of [5], Theorem 3.3 from group algebras to pointed Hopf algebras. -
State of Rhode Island and Providence Plantations
STATE OF RHODE ISLAND AND PROVIDENCE PLANTATIONS PROVIDENCE, SC SUPERIOR COURT : CHAPMAN STREET REALTY, : INC., ET AL. : : : v. : C.A. No. 2001-2217 : : DEPARTMENT OF BUSINESS REGULATION, ET AL. DECISION GIBNEY, J. Before this Court is petitioners’ appeal from a decision of the Department of Business Regulation (DBR), denying a liquor license transfer from petitioner Laurence E. DeChristofaro, Jr. to petitioner Francisco Batista. The petitioners argue that the Hearing Officer abused his discretion and committed error of law by refusing to grant the liquor license transfer. Jurisdiction is pursuant to G.L. 1956 § 42-35-15. Facts/Travel Petitioner, Lawrence E. DeChristofaro, Jr., (DeChristofaro), was the owner of a bar known as “Chaps,” for which he was the holder of a Class BX liquor license. In September 1998, DeChristofaro entered into a purchase and sale agreement to sell Chaps and to transfer its liquor license to petitioner, Francisco Batista, hereinafter “Batista.” Batista was at the time, and currently is, involved with running a club called “Club 3030.” On October 13, 1999, the Providence Board of Licenses denied the liquor license transfer application. Batista appealed to the Rhode Island Department of Business Regulation. At the 1 hearing before the DBR, the primary witness in opposition to the liquor license transfer was Louis A. Aponte, the area Councilman. (Tr. at of December 15, 1999 at 16-17.) Councilman Aponte expressed community concerns that Chaps, which had traditionally been run as a local bar, would attempt to expand and that this expansion would deleteriously affect the character of the neighborhood. Id. Settlement negotiations resolved these community concerns through a consent agreement signed on February 21, 2000.