Warfare and Violence
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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Coping with CROWDING by Frans B
POPULATION GROWTH has been thought, since the time of Thomas Malthus, to produce dire consequences such as disease, scarcity and social deviancy. This dark view seemed confirmed by rodent studies. Yet little evi- dence suggests that people are similarly affected: we seem to handle large crowds quite well for the most part. Coping with CROWDING by Frans B. M. de Waal, Filippo Aureli and Peter G. Judge 76 Scientific American May 2000 Coping with Crowding Copyright 2000 Scientific American, Inc. n 1962 this magazine published a seminal But, one could argue, perhaps such a re- paper by experimental psychologist John lation is obscured by variation in national IB. Calhoun entitled “Population Density income level, political organization or some and Social Pathology.” The article opened other variable. Apparently not, at least for dramatically with an observation by the late- income. We divided the nations into three 18th-century English demographer Thomas categories—free-market, former East Block Malthus that human population growth is and Third World—and did the analysis automatically followed by increased vice and again. This time we did find one significant misery. Calhoun went on to note that al- correlation, but it was in the other direc- though we know overpopulation causes dis- tion: it showed more violent crime in the ease and food shortage, we understand virtu- least crowded countries of the former East ally nothing about its behavioral impact. Block. A similar trend existed for free-mar- This reflection had inspired Calhoun to ket nations, among which the U.S. had by conduct a nightmarish experiment. -
Late-Medieval France
Late-Medieval France: A Nation under Construction A study of French national identity formation and the emerging of national consciousness, before and during the Hundred Years War, 1200-1453 Job van den Broek MA History of Politics and Society Dr. Christian Wicke Utrecht University 22 June 2020 Word count: 13.738 2 “Ah! Doulce France! Amie, je te lairay briefment”1 -Attributed to Bertrand du Guesclin, 1380 Images on front page: The kings of France, England, Navarre and the duke of Burgundy (as Count of Charolais), as depicted in the Grand Armorial Équestre de la Toison d’Or, 1435- 1438. 1 Cuvelier in Charrière, volume 2, pp 320. ”Ah, sweet France, my friend, I must leave you very soon.” Translation my own. 2 3 Abstract Whether nations and nationalism are ancient or more recent phenomena is one of the core debates of nationalism studies. Since the 1980’s, modernism, claiming that nations are distinctively modern, has been the dominant view. In this thesis, I challenge this dominant view by doing an extensive case-study into late-medieval France, applying modernist definitions and approaches to a pre-modern era. France has by many regarded as one of the ‘founding fathers’ of the club of nations and has a long and rich history and thus makes a case-study for such an endeavour. I start with mapping the field of French identity formation in the thirteenth century, which mostly revolved around the royal court in Paris. With that established, I move on to the Hundred Years War and the consequences of this war for French identity. -
Human Origins Studies: a Historical Perspective
Evo Edu Outreach (2010) 3:314–321 DOI 10.1007/s12052-010-0248-7 ORIGINAL SCIENTIFIC ARTICLE Human Origins Studies: A Historical Perspective Tom Gundling Published online: 29 July 2010 # Springer Science+Business Media, LLC 2010 Abstract Research into the deep history of the human within the field of paleoanthropology, but rather to identify species is a relatively young science which can be divided broad patterns and highlight a collection of “events” that into two broad periods. The first spans the century between are most germane in shaping current understanding of our the publication of Darwin’s Origin and the end of World evolutionary origin. These events naturally include the War II. This period is characterized by the recovery of the accretion of fossil material, the raw data which is the direct, first non-modern human fossils and subsequent attempts at if mute, testimony of the past. These fossil discoveries are reconstructing family trees as visual representations of the situated among technological breakthroughs, theoretical transition from ape to human. The second period, from shifts, and changes in the sociocultural context in which 1945 to the present, is marked by a dramatic upsurge in the human origins studies were conducted. It is only through quantity of research, with a concomitant increase in such a contextualized historical approach that we can truly specialization. During this time, emphasis shifted from grasp our current understanding of human origins. Foibles classification of fossil humans to paleoecology in which of the past remind us to be critical in assessing newly hominids were seen as parts of complex evolving ecosys- produced knowledge, yet simultaneously we can genuinely tems. -
UAW Ends Long Strike with Big Gains at GM
I r n S? TUP W FFK PULLOUT SECTION INSIDE ^hjk H w 1® H 1^1 S te ffi H 11 H I i Has* 11 m % ( S T % JULY 20-26, 1997 THE DETROIT VOL. 2 NO. 36 75 CENTS S unday To u r n a l CONTINUING THE STRUGGLE FOR JUSTICE AND CONTRACTS ©TDSJ INSIDE UAW ends long strike with big gains at GM By Martha Hindes Journal Automotive Writer In a mass meeting at the Pontiac Silverdome on Friday, members of UAW Local 594 claimed a major victory as they overwhelmingly ratified a strike- ending contract with General Motors Corp. The new contract, approved by 93.5 percent of UAW members, included major victories for the union. It brings back to GM’s Pontiac truck complex more than 550 production and skilled trades jobs to replace many that Re m e m b e r in g had been lost in the past decade. It include substantial holiday pay and financial penalties for t h e r io t s By Christopher M. Singer grievances that will cost the A d Journal Staff Writer company almost $10 million. It A n entire generation has passed since the also eliminates subcontracting / % events that began for Detroit early on and offers production workers / % Sunday morning, July 23, 1967 - time the chance to move up to higher- JL enough to gain some perspective on whatpaying skilled trades jobs. was then the costliest urban uprising in U.S. history.And it sends back to work more than 6,100 workers who Forty-three people died. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
Primate Aggression and Evolution: an Overview of Sociobiological and Anthropological Perspectives JAMES J
Primate Aggression and Evolution: An Overview of Sociobiological and Anthropological Perspectives JAMES J. McKENNA Attempts to explain the nature and causes of human aggression are hand icapped primarily because aggression is anything but a unitary concept. Aggression has no single etiology, no matter which mammalian species we consider or what kind of causation (developmental or evolutionary) we stress. Nevertheless, forensic psychiatrists are asked to evaluate instances of human aggression in ways that would send shivers up the spines of researchers who have been wrestling with the issue for over fifty years. This is not to say forensic psychiatry should be abolished nor to suggest be havioral scientists have not made progress in discovering causes of species aggression in genera}l and human violence in particular.2 But especially when predictive models are considered it does mean we are far from achiev ing highly reliable results.:l Particularly when one person is asked to assess the motivational state of another who has committed a serious aggressive act it becomes more evident just how much more data we need. Strangely, if a forensic psychia trist were asked to testify in a case in which, let us say, one monkey attacked another, the testimony would be based on more complete information than a case involving a human. This is because a plethora of context-specific data on nonhuman primates are available. These data illuminate a wide range of social, ecological, and endocrinological circumstances under which animals will be expected to act aggressively. Data on humans are much more complex, and sometimes they are absent altogether. -
Mccarthy Era and the American Theatre Author(S): Albert Wertheim Source: Theatre Journal, Vol
The McCarthy Era and the American Theatre Author(s): Albert Wertheim Source: Theatre Journal, Vol. 34, No. 2, Insurgency in American Theatre, (May, 1982), pp. 211 -222 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3207451 Accessed: 16/04/2008 16:42 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org The McCarthy Era and the American Theatre Albert Wertheim Eric Bentley's Thirty Years of Treason, Lillian Hellman's Scoundrel Time, Lately Thomas's When Even Angels Wept, and Robert Goldston's The American Nightmare are only a few of the many studies that have been written about that unsettling and aberrant period of recent American history frequently known as the McCarthy era.1 The very titles of the books tell us immediately with what loathing and shame most Americans now look back to that time of political paranoia. -
SCRAPBOOK of MOVIE STARS from the SILENT FILM and Early TALKIES Era
CINEMA Sanctuary Books 790 - Madison Ave - Suite 604 212 -861- 1055 New York, NY 10065 [email protected] Open by appointment www.sanctuaryrarebooks.com Featured Items THE FIRST 75 ISSUES OF FILM CULTURE Mekas, Jonas (ed.). Film Culture. [The First 75 Issues, A Near Complete Run of "Film Culture" Magazine, 1955-1985.] Mekas has been called “the Godfather of American avant-garde cinema.” He founded Film Culture with his brother, Adolfas Mekas, and covered therein a bastion of avant-garde and experimental cinema. The much acclaimed, and justly famous, journal features contributions from Rudolf Arnheim, Peter Bogdanovich, Stan Brakhage, Arlene Croce, Manny Farber, David Ehrenstein, John Fles, DeeDee Halleck, Gerard Malanga, Gregory Markopoulos, Annette Michelson, Hans Richter, Andrew Sarris, Parker Tyler, Andy Warhol, Orson Welles, and many more. The first 75 issues are collected here. Published from 1955-1985 in a range of sizes and designs, our volumes are all in very good to fine condition. Many notable issues, among them, those designed by Lithuanian Fluxus artist, George Macunias. $6,000 SCRAPBOOK of MOVIE STARS from the SILENT FILM and early TALKIES era. Staple-bound heavy cardstock wraps with tipped on photo- illustration of Mae McAvoy, with her name handwritten beneath; pp. 28, each with tipped-on and hand-labeled film stills and photographic images of celebrities, most with tissue guards. Front cover a bit sunned, lightly chipped along the edges; internally bright and clean, remarkably tidy in its layout and preservation. A collection of 110 images of actors from the silent film and early talkies era, including Inga Tidblad, Mona Martensson, Corinne Griffith, Milton Sills, Norma Talmadge, Colleen Moore, Charlie Chaplin, Lillian Gish, and many more. -
The Territorial Imperative
Old School Ethological Model The blood-bespattered, slaughter-gutted archives of human history from the earliest Egyptian and Sumerian records to the most recent atrocities of the Second World War accord with early universal cannibalism, with animal and human sacrificial practices or their substitutes in formalized religions and with the world wide scalping, head-hunting, body-mutilating and necrophiliac practices of mankind in proclaiming this common blood lust differentiator, this mark of Cain that separates man dietetically from his anthropoidal relatives and allies him rather with the deadliest of Carnivora. Raymond Dart (1953) "The predatory transition from ape to man". International Anthropological and Linguistic Review I. Warfare and Evolution Old ethological & modern evolutionary models A strategic model of territoriality Chimpanzee coalitionary aggression Influential ethology books On Aggression, Konrad Lorenz (1966) African Genesis (1961), Robert Ardrey The Territorial Imperative, Robert Ardrey (1966) Lorenz's Hydraulic or Drive Discharge Theory: ¾ aggressive energy builds in the organism ¾ if the energy is not released the organism will be harmed ¾ the organism seeks a releasing mechanism (e.g., territorial intruder) ¾ aggression is expressed and the organism reestablishes equilibrium Reasoning behind the Phylogenetic Model: Humans are primates. Non-human primates are aggressive and territorial. Humans are aggressive and territorial. Non-human primate behavior is genetically determined. Therefore, human aggression, warfare, and territoriality are genetically determined. Strategic or conceptual models Under what conditions do we expect the behavior to manifest itself? What are the costs and benefits to the behavior? Does not require phylogenetic connections. Further, even if we find the behavior in closely related species or subspecies we would still have to explain the evolutionary logic behind the behavior. -
Convert Finding Aid To
David O. Selznick: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Selznick, David O., 1902-1965 Title: David O. Selznick Collection Dates: 1904-1980 (bulk 1936-1955) Extent: 4,674 document boxes, plus 428 oversize or custom boxes, 147 music folders, 6 galley folders, 101 sound discs, 155 bound volumes, and 35 flat file drawers (2,388 linear feet) Abstract: Contains records documenting every aspect of David O. Selznick's Hollywood studio operations including script development, production, publicity, finances, and distribution. The records follow film's pioneer days in New York through the heyday of the studio system in Hollywood, to the rise of television. Besides Selznick's independent productions such as A Star is Born (1937), Gone With the Wind (1939), and Rebecca (1940), the archive documents his association with three major studios, Metro-Goldwyn-Mayer, Paramount, and RKO. Call Number: Film Collection FI-034 Language: English Access: Open for research. A limited amount of sensitive material has been restricted by the family. Administrative Information Acquisition: Purchase and gift, 1981-1995 Processed by: Gwyneth Cannan and Kinga Perzynska, with assistance from Jan Root, Hope Kelley, Abby Weinhauer, David Sparks, and Bob Taylor, 1988-1992 Repository: The University of Texas at Austin, Harry Ransom Center Selznick, David O., 1902-1965 Film Collection FI-034 Biographical Sketch David O. Selznick (1902-1965) began his film career working for his father's production companies. In 1926 he joined MGM as a reader and quickly rose to assistant producer. Two years later, Selznick left MGM to become executive assistant at Paramount. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994.