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A Century of Scholarship 1881 – 2004
A Century of Scholarship 1881 – 2004 Distinguished Scholars Reception Program (Date – TBD) Preface A HUNDRED YEARS OF SCHOLARSHIP AND RESEARCH AT MARQUETTE UNIVERSITY DISTINGUISHED SCHOLARS’ RECEPTION (DATE – TBD) At today’s reception we celebrate the outstanding accomplishments, excluding scholarship and creativity of Marquette remarkable records in many non-scholarly faculty, staff and alumni throughout the pursuits. It is noted that the careers of last century, and we eagerly anticipate the some alumni have been recognized more coming century. From what you read in fully over the years through various this booklet, who can imagine the scope Alumni Association awards. and importance of the work Marquette people will do during the coming hundred Given limitations, it is likely that some years? deserving individuals have been omitted and others have incomplete or incorrect In addition, this gathering honors the citations in the program listing. Apologies recipient of the Lawrence G. Haggerty are extended to anyone whose work has Faculty Award for Research Excellence, not been properly recognized; just as as well as recognizing the prestigious prize scholarship is a work always in progress, and the man for whom it is named. so is the compilation of a list like the one Presented for the first time in the year that follows. To improve the 2000, the award has come to be regarded completeness and correctness of the as a distinguishing mark of faculty listing, you are invited to submit to the excellence in research and scholarship. Graduate School the names of individuals and titles of works and honors that have This program lists much of the published been omitted or wrongly cited so that scholarship, grant awards, and major additions and changes can be made to the honors and distinctions among database. -
The Life-Cycle of the Barcelona Automobile-Industry Cluster, 1889-20151
The Life-Cycle of the Barcelona Automobile-Industry Cluster, 1889-20151 • JORDI CATALAN Universitat de Barcelona The life cycle of a cluster: some hypotheses Authors such as G. M. P. Swann and E. Bergman have defended the hy- pothesis that clusters have a life cycle.2 During their early history, clusters ben- efit from positive feedback such as strong local suppliers and customers, a pool of specialized labor, shared infrastructures and information externali- ties. However, as clusters mature, they face growing competition in input mar- kets such as real estate and labor, congestion in the use of infrastructures, and some sclerosis in innovation. These advantages and disadvantages combine to create the long-term cycle. In the automobile industry, this interpretation can explain the rise and decline of clusters such as Detroit in the United States or the West Midlands in Britain.3 The objective of this paper is to analyze the life cycle of the Barcelona au- tomobile- industry cluster from its origins at the end of the nineteenth centu- ry to today. The Barcelona district remained at the top of the Iberian auto- mobile clusters for a century. In 2000, when Spain had reached sixth position 1. Earlier versions of this paper were presented at the International Conference of Au- tomotive History (Philadelphia 2012), the 16th World Economic History Congress (Stellen- bosch 2012), and the 3rd Economic History Congress of Latin America (Bariloche 2012). I would like to thank the participants in the former meetings for their comments and sugges- tions. This research benefitted from the financial support of the Spanish Ministry of Econo- my (MINECO) and the European Regional Development Fund (ERDF) through the projects HAR2012-33298 (Cycles and industrial development in the economic history of Spain) and HAR2015-64769-P (Industrial crisis and productive recovery in the Spanish history). -
Toxic Masculinity and the Revolutionary Anti-Hero
FIGHTING HACKING AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO A thesis submitted to the faculty of San Francisco State University A In partial fulfillment of 3^ the requirements for the Degree kJQ Masters of Arts *0 4S In Women and Gender Studies by Robyn Michelle Ollodort San Francisco, California May 2017 Copyright by Robyn Michelle Ollodort 2017 CERTIFICATION OF APPROVAL I certify that I have read Fighting, Hacking, and Stalking: Toxic Masculinity and the Revolutionary Anti-Hero by Robyn Michelle Ollodort, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Women and Gender Studies at San Francisco State University. Martha Kenney; Ph.D. Assistant Professor, Women and Gender Studies Professor, History FIGHTING, HACKING, AND STALKING: TOXIC MASCULINITY AND THE REVOLUTIONARY ANTI-HERO Robyn Michelle Ollodort San Francisco, California 2017 Through my analyses of the films Taxi Driver (1976) and Fight Club (1999), and the television series Mr. Robot (2105), I will unpack the ways each text represents masculinity and mental illness through the trope of revolutionary psychosis, the ways these representations reflect contemporaneous political and social anxieties, and how critical analyses of each text can account for the ways that this trope fails to accurately represent the lived experiences of men and those with mental illnesses. In recognizing the harmful nature of each of these representations’ depictions of both masculinity and mental illness, we can understand why such bad tropes circulate, and how to recognize and refuse them, or make them better. -
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir in Festival Randy Malamud
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir In Festival Randy Malamud In the sublime shadows of the Italian Alps, Courmayeur Confidential, Mulholland Drive, The Dark Knight trilogy), Noir In Festival’s 23-year run suggests America’s monop- hyper-noir (even ‘noirer’ than noir! Sin City, Django Un- 1 oly on this dark cinematic tradition may be on the wane. chained), and tech noir (The Matrix, cyberpunk) it remained The roots of film noir wind broadly through the geogra- a made-in-America commodity. phy of film history. One assumes it’s American to the core: Courmayeur’s 2013 program proved that contemporary Humphrey Bogart, Orson Welles, Dashiell Hammett. But noir, like anything poised to thrive nowadays, is indubita- au contraire, the term itself (obviously) emanates from bly global. Its December event featured Hong Kong film- a Gallic sensibility: French critic Nino Frank planted the maker Johnny To’s wonderfully macabre comedy, Blind flag when he coined ‘‘film noir’’ in 1946. He was discussing Detective (with the funniest crime reenactment scenes American films, but still: it took a Frenchman to appreci- ever); Erik Matti’s Filipino killer-thriller On the Job; and 2 ate them. Or maybe the genre is German, growing out Argentinian Lucı´a Puenzo’s resonantly disturbing Wakol- of Weimar expressionism, strassenfilm (street stories), da, an adaptation of her own novel about Josef Mengele’s 3 Lang’s M. 1960 refuge in a remote Patagonian Naziphile community. In fact, film noir is a hybrid which began to flourish in The Black Lion jury award went to Denis Villeneuve’s 1940s Hollywood, but was molded by displaced Europeans Enemy, a Canadian production adapted from Jose´ Sarama- (Billy Wilder, Alfred Hitchcock, Otto Preminger) and go’s Portuguese novel The Double (and with a bona fide keenly inflected by their continental aesthetic and philo- binational spirit). -
From Legend to Reality
Hispano Suiza: from legend to reality Hispano Suiza built more than 12.000 luxury cars between 1904 and 1946. Its emblem, the stork, pays tribute to the squadron emblem painted on the side of a Hispano-Suiza powered fighter aircraft that had been flown during World War I Its current hypercars, 100% electric, maintain the values which converted Hispano Suiza into a legend. Barcelona, 2 February 2021. The Hispano Suiza brand renaissance dates back to March 2019 when it unveiled a true work of art on wheels at the Geneva Motor Show: the Carmen. The luxury hypercar, which defines the “hyperlux” segment, instantly became one of the most coveted attractions of the Swiss exhibition. The Carmen shares the same DNA that turned Hispano Suiza into a legend and a source of pride for the Spanish automotive industry. Two generations of Hispano Suiza side by side: the H6 (left) and the Carmen Boulogne. Hispano Suiza was founded on June 14, 1904 by Damián Mateu, with the support of engineer Marc Birkigt, a Swiss who had come to Spain to revolutionise the automobile industry, and who had worked on the two predecessors of Hispano Suiza: La Cuadra and J.Castro. Since the beginning of the century, Birkigt had worked on the development of 10 and 14 hp vehicles, which formed the foundations of the company and were delivered at the end of the same year. 1 A few months later, in 1905, Hispano Suiza produced its first vehicle, the armored type Birkigt system, which was equipped with a four-cylinder engine and delivered 20 CV of power, with a top speed of 87 km/h. -
Benchmarking of Existing Business / Operating Models & Best Practices
SHared automation Operating models for Worldwide adoption SHOW Grant Agreement Number: 875530 D2.1.: Benchmarking of existing business / operating models & best practices This report is part of a project that has received funding by the European Union’s Horizon 2020 research and innovation programme under Grant Agreement number 875530 Legal Disclaimer The information in this document is provided “as is”, and no guarantee or warranty is given that the information is fit for any particular purpose. The above-referenced consortium members shall have no liability to third parties for damages of any kind including without limitation direct, special, indirect, or consequential damages that may result from the use of these materials subject to any liability which is mandatory due to applicable law. © 2020 by SHOW Consortium. This report is subject to a disclaimer and copyright. This report has been carried out under a contract awarded by the European Commission, contract number: 875530. The content of this publication is the sole responsibility of the SHOW project. D2.1: Benchmarking of existing business / operating models & best practices 2 Executive Summary D2.1 provides the state-of-the-art for business and operating roles in the field of mobility services (MaaS, LaaS and DRT containing the mobility services canvas as description of the selected representative mobility services, the business and operating models describing relevant business factors and operation environment, the user and role analysis representing the involved user and roles for the mobility services (providing, operating and using the service) as well as identifying the success and failure models of the analysed mobility services and finally a KPI-Analysis (business- driven) to give a structured economical evaluation as base for the benchmarking. -
Dheepan, Un Film Postcolonial Anthony Goreau-Ponceaud, Paul Veyret
Dheepan, un film postcolonial Anthony Goreau-Ponceaud, Paul Veyret To cite this version: Anthony Goreau-Ponceaud, Paul Veyret. Dheepan, un film postcolonial. EchoGéo, EchoGéo, 2016, 10.4000/echogeo.14456. halshs-01404832 HAL Id: halshs-01404832 https://halshs.archives-ouvertes.fr/halshs-01404832 Submitted on 29 Nov 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. EchoGéo Sur le Vif | 2016 Dheepan, un film postcolonial Anthony Goreau-Ponceaud and Paul Veyret Publisher Pôle de recherche pour l'organisation et la diffusion de l'information géographique Electronic version (CNRS UMR 8586) URL: http://echogeo.revues.org/14456 DOI: 10.4000/echogeo.14456 ISSN: 1963-1197 Electronic reference Anthony Goreau-Ponceaud and Paul Veyret, « Dheepan, un film postcolonial », EchoGéo [Online], Sur le Vif, Online since 15 February 2016, connection on 30 September 2016. URL : http:// echogeo.revues.org/14456 ; DOI : 10.4000/echogeo.14456 This text was automatically generated on 30 septembre 2016. EchoGéo est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International Dheepan, un film postcolonial 1 Dheepan, un film postcolonial Anthony Goreau-Ponceaud and Paul Veyret 1 La lecture qui suit de Dheepan1 (2015) de Jacques Audiard est le fruit du croisement de deux regards : celui d’un spécialiste de la diaspora tamoule et celui d’un spécialiste du cinéma diasporique indien. -
From Weaklings to Wounded Warriors: the Changing Portrayal of War-Related Post Traumatic Stress Disorder in American Cinema
49th Parallel, Vol. 30 (Autumn 2012) ISSN: 1753-5794 (online) Maseda/ Dulin From Weaklings to Wounded Warriors: The Changing Portrayal of War-related Post Traumatic Stress Disorder in American Cinema Rebeca Maseda, Ph.D and Patrick L. Dulin, Ph.D* University of Alaska Anchorage “That which doesn’t kill me, can only make me stronger.”1 Nietzche’s manifesto, which promises that painful experiences develop nerves of steel and a formidable character, has not stood the test of time. After decades of research, we now know that traumatic events often lead to debilitating psychiatric symptoms, relationship difficulties, disillusionment and drug abuse, all of which have the potential to become chronic in nature.2 The American public is now quite familiar with the term Post Traumatic Stress Disorder (PTSD), its characteristics and associated problems. From what we know now, it would have been more appropriate for Nietzche to have stated “That which doesn’t kill me sometimes makes me stronger, sometimes cripples me completely, but regardless, will stay with me until the end of my days.” The effects of trauma have not only been a focus of mental health professionals, they have also captured the imagination of Americans through exposure to cultural artefacts. Traumatized veterans in particular have provided fascinating material for character development in Hollywood movies. In many film representations the returning veteran is violent, unpredictable and dehumanized; a portrayal that has consequences for the way veterans are viewed by U.S. society. Unlike the majority of literature stemming from trauma studies that utilizes Freudian * Dr Maseda works in the Department of Languages at the University of Alaska, Anchorage, and can be reached at [email protected]. -
Spatial Equilibrium and Search Frictions - an Application to the New York City Taxi Market∗
Spatial Equilibrium and Search Frictions - an Application to the New York City Taxi Market∗ Ida Johnssonz March 18, 2018 Abstract This paper uses a dynamic spatial equilibrium model to analyze the effect of matching frictions and pricing policy on the spatial allocation of taxicabs and the aggregate number of taxi-passenger meetings. A spatial equilibrium model, in which meetings are frictionless but aggregate matching frictions can arise endogenously for certain parameter values, is calibrated using data on more than 45 million taxi rides in New York. It is shown how the set of equilibria changes for different pricing rules and different levels of aggregate market tightness, defined as the ratio of total supply to total demand. Finally, a novel data-driven algorithm for inferring unobserved demand from the data is proposed, and is applied to analyze how the relationship between demand and supply in a market with frictions compares to the frictionless equilibrium outcome. Keywords: spatial equilibrium, matching, industry dynamics, taxicabs JEL codes: ∗I would like to thank Professor Hashem Pesaran and Professor Hyungsik Roger Moon for their guidance and support. zDepartment of Economics, University of Southern California. Email: [email protected] 1 Introduction The distribution of taxicabs in big cities tends to be imbalanced, in some areas passengers have a hard time finding a taxi, in others taxis can’t easily find a passenger. In the taxi market, trades occur bi- laterally between agents, and the equilibrium outcome depends on the nature of the meeting process. For example, the matching mechanism between yellow cabs in New York and passengers, who have to hail the cab from the street, is different than for ride-hailing services such as Uber or Lyft that match passengers and cabs using an algorithm. -
A Subcategory of Neo Noir Film Certificate of Original Authorship
Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question. -
Collaborations of Martin Scorsese with De Niro And
From Realism to Reinvention: Collaborations of Martin Scorsese with De Niro and DiCaprio By Travis C. Yates Martin Scorsese is considered by many to be the greatest film director of the past quarter- century. He has left an indelible mark on Hollywood with a filmography that spans more than four decades and is as influential as it is groundbreaking. The proverb goes, “It takes a village to raise a child.” The same could be said of cinema, though one popular filmmaking theory refutes this. French filmmaker Jean-Luc Godard said of the filmmaking process, “The cinema is not a craft. It is an art. It does not mean teamwork. One is always alone on the set as before the blank page” (Naremore 9). Film theorist Robert Stam discusses this concept of auteur theory in Film Theory: An Introduction , an idea that originated in postwar France in the 1950s. It is the view that the director is solely responsible for the overall look and style of a film. As Colin Tait submits in his article “When Marty Met Bobby: Collaborative Authorship in Mean Streets and Taxi Driver ,” the theory is a useful tool at best, incorrect at worst. Tait criticizes the theory in that it denies the influence of other artists involved in the production as well as the notion of collaboration. It is this spirit of collaboration in Scorsese films featuring two specific actors, Robert De Niro and Leonardo DiCaprio, which this this paper will examine. Scorsese has collaborated with De Niro on eight films, the first being Mean Streets in 1973 and the most recent being Casino in 1995. -
Hierarchical Clusters: Emergence and Success of the Automotive Districts of Barcelona and São Paulo
Hierarchical Clusters: Emergence and Success of the Automotive Districts of Barcelona and São Paulo JORDI CATALAN TOMÀS FERNÁNDEZ-DE-SEVILLA This article analyzes the causes for the long-term success of the Barcelona (Spain) and São Paulo (Brazil) automobile industry clus- ters. Comparative evidence suggests that both clusters emerged in the early twentieth century through the formation of Marshallian external economies. Nevertheless, neither Barcelona nor São Paulo reached mass automobile production before 1950. The consolida- tion of the clusters required the adoption of strategic industrial policy during the golden age of capitalism. This policy succeeded in encouraging a few hub firms to undertake mass production by using domestic parts. The strategic policy also favored these leading corporations transferring their technical, organizational, and distri- bution capabilities, which in turn amplified the advantages of the clusters. Local institutions did not make a significant contribution. © The Author(s), 2020. Published by Cambridge University Press on behalf of the Business History Conference. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/eso.2019.27 Published online February 4, 2020 JORDI CATALAN is full professor of Economic History at the University of Barcelona. Contact information: Department of Economic History, Faculty of Economics, Universitat de Barcelona, Diagonal 690, 08034 Barcelona (Catalonia), Spain. E-mail: [email protected]. TOMÀS FERNÁNDEZ-DE-SEVILLA is the Kurgan-van Hentenryk Postdoctoral Fellow in Business History at the Solvay Brussels School of Economics and Management.