Relevant bibliographies by topics / 1934-2024

Academic literature on the topic '1934-2024'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "1934-2024"

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Fischhoff, Baruch. "Daniel Kahneman (1934–2024)." Science 384, no. 6695 (May 3, 2024): 515. http://dx.doi.org/10.1126/science.adp6405.

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Chamyal, L. S. "Rajendra Kumar Pant (1934-2024)." Journal Of The Geological Society Of India 100, no. 7 (July 1, 2024): 1068. http://dx.doi.org/10.17491/jgsi/2024/173951.

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Davidson, Scott. "Niklaus Wirth (1934–2024)—An Appreciation." IEEE Design & Test 41, no. 3 (June 2024): 65. http://dx.doi.org/10.1109/mdat.2024.3371372.

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Beebe, Nelson. "Bibliography of Niklaus Wirth (1934–2024)." TUGboat 45, no. 1 (2024): 6. http://dx.doi.org/10.47397/tb/45-1/tb139beebe-wirth.

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Larbre, Françoise, Florence Legros, and Valérie Mignon. "Hommage à Gilbert Abraham-Frois (1934-2024)." Revue d'économie politique Vol. 134, no. 3 (June 21, 2024): 367–69. http://dx.doi.org/10.3917/redp.343.0367.

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Bellorin-Font, Ezequiel, Marcos Rothstein, and Kevin J. Martin. "In memoriam: Eduardo Slatopolsky, MD, 1934–2024." Kidney International 106, no. 2 (August 2024): 168–70. http://dx.doi.org/10.1016/j.kint.2024.06.001.

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Kłys, Tomasz. "Wspomnienie o Ewie Nagurskiej." Kwartalnik Filmowy, no. 126 (July 2, 2024): 242–43. http://dx.doi.org/10.36744/kf.2631.

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Völker, Klaus. "Spezialist für Weltbeschreibung." Theater heute 65, no. 5 (2024): 50–51. http://dx.doi.org/10.5771/0040-5507-2024-5-050.

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Kumar, Saurav, Mritunjoy Kumar, and Ashwani Tandon. "Padma Shree Dr. Narendra Prasad, MS, FRCS (1934–2024)." NMO Journal 18, no. 1 (January 2024): 59–60. http://dx.doi.org/10.4103/jnmo.jnmo_27_24.

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Savyasaachi. "The Poetics of Studentship: A Tribute to Professor JPS Uberoi (1934-2024)." Social Change 54, no. 1 (March 2024): 150–54. http://dx.doi.org/10.1177/00490857241231475.

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Dissertations / Theses on the topic "1934-2024"

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Cheng, Lai Hing. "L'épique et le didactique dans l'oeuvre théâtrale d'Edward Bond." Paris 3, 2000. http://www.theses.fr/2000PA030055.

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Notre questionnement sur l'epique et le didactique dans l'oeuvre theatrale d'edward bond nous amene a comprendre le fondement de sa poetique, les elements essentiels de son esthetique, et les idees-forces de sa pensee politique et morale. Ce travail tente egalement une theorisation de la dramaturgie de son theatre epique et essaye de formuler des hypotheses sur son fonctionnement. La notion de l'epique s'analyse en son rapport avec trois autres notions,a savoir le tragique, le dramatique et le lyrique. La premiere partie considere le rapport de l'epique et du tragique : en effet, le tragique est compris dans l'epique ou l'epique se charge du tragique comme partie integrante. Essentiellement theatre de narration, le theatre de bond represente l'homme agissant selon une vision epique du monde, avec pour recette l'analyse rationnelle et sa theatralisation, le com♭ mentaire et la critique de la societe. La deuxieme partie etudie le rapport de l'epique et du dramatique. Il se tiennent dans une vive dialectique : la conception et la forme des pieces sont epiques,et la substance - les elements theatraux est constituee des donnees epiques et des donnees dramatiques, ces donnees entre♭ tiennent des rapports parfois d'opposition, parfois de complementarite. Nous analy♭ sons en detail l'action et le conflit, la parole theatrale, l'action montree et l' action racontee, et la construction epique du personnage. La troisieme partie ex♭ amine enfin le rapport de l'epique et du lyrique : deux modes d'expression diffe♭ rentes, l'un vise l'objectivite, l'autre la subjectivite ; toutefois, bien des textes tisssent ces modes ensemble. L'espace epico-lyrique s'avere interessant, en parti♭ culier le monologue bondien. Etant donne que l'homme est au centre du theatre epi♭ que bondien, il nous est imperatif d'etudier l'aspect didactique de ce theatre : la dialectique d'enseigner et d'apprendre, la dramaturgie du sujet en ses manifesta♭ tions diverses, et le devenu du spectateur-sujet.
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Sahakian, Emily. "French Carribbean Women's Theatre : Trauma, Slavery, and Transcultural." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0136.

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Le présent mémoire de thèse examine le rôle culturel du théâtre féminin antillais des décennies 1980 et 1990. Il se propose de montrer que le théâtre participe à la construction et à la transformation d'une mémoire collective de l'esclavage, aussi bien au sein d'une nation que dans un contexte transnational. À partir du concept de mémoire traumatique de l'esclavage, il s'agit d'étudier d'une part, trois dramaturges antillaises, en mettant en relief trois pièces principales, et, d'autre part, les mises en scène et la réception de ces pièces à l'Ubu Repertory Theater de New York. Cette étude commence par une introduction théorique, suivie d'un deuxième chapitre sur l'esclavage, sa mémoire, et son oubli en France métropolitaine et d'Outre-mer. Les trois chapitres centraux examinent les théâtres d'Ina Césaire, de Maryse Condé, et de Gerty Dambury aussi bien que la mise en scène et la réception de leurs pièces à l'Ubu. Dans la première partie de chaque chapitre, une analyse textuelle permet d'éclairer comment les pièces présentées mettent en scène une continuité entre le passé et le présent. Ici, le théâtre vise à confronter et instaurer une mémoire antillaise et féminine de l'esclavage, mémoire qui était largement inconsciente et secrète à la fin du vingtième siècle. Dans la deuxième partie de chaque chapitre, il est question de la traduction du traumatisme réalisée par les artistes et les spectateurs à l 'Ubu. Cette analyse souligne la mise en place d'une narration du traumatisme transculturel, créée par l'événement théâtral, et les conflits engendrés
This dissertation examines the cultural work done by French Caribbean women's theatre of the 1980s and 1990s. Through a focus on traumatic memories of slavery, l study three French Caribbean women dramatists, investigating three noteworthy plays and the staging and reception of those plays at Ubu Repertory Theater of New York. The study begins with a theoretical introduction, followed by a second chapter on slavery and its remembrance in metropolitan France and the overseas departments. The three central chapters investigate the theatres of Ina Césaire, Maryse Condé, and Gerty Dambury, as well as the production and reception of their plays at Ubu. In a first section of each chapter, l deploy textual analysis to illuminate how the plays portray links between the past and the present in order to establish and transform French Caribbean women's memory of slavery, which was largely unconscious and secret at the end of the twentieth century. In a second part of each chapter, l investigate the translation of trauma realized by Ubu artists and spectators and the conflicts generated by transcultural performances of French Caribbean women's trauma
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Fathy, Safaa. "Le nouveau théâtre épique en Grande-Bretagne : de Brecht à John Arden et Edward Bond." Paris 4, 1993. http://www.theses.fr/1993PA040316.

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Le nouveau théâtre épique en Grande-Bretagne : de Brecht à John Arden et Edward Bond, traite, en trois parties séparées, à la fois des questions théoriques concernant une définition précise de la dramaturgie, de l'esthétique et des origines du théâtre épique. Ensuite, des catégories définies auparavant sont appliquées à l'analyse des pièces d’Arden et d'Arcy d'abord, et à celles de Bond par la suite. De ce fait, la première partie concerne la théorie, alors que les deuxième et troisième sont des études de la conception théâtrale des auteurs et de leurs œuvres. L'objet de l'étude est de démontrer la filiation entre Brecht et les auteurs concernés, ainsi que la continuation du courant épique en tant que courant majeur du théâtre contemporain
The new epic theatre in Great Britain: from Brecht to John Arden and Edward Bond considers, in three distinct parts, theoretical questions associated with a precise definition of the dramaturgy, the aesthetics and the origins of epic theatre. Previously defined categories are then applied to the analysis of the plays of Arden and d'Arcy and to those of bond. The first part thus deals with theory, while the second and third parts are studies of the theatrical conceptions of the authors and their work. The goal of the study is to show the relation between Brecht and the authors concerned, as well as the continuation of the current of epic theatre as a major current in contemporary theatre
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Conference papers on the topic "1934-2024"

1

Van Dam, Case P., Seyedeh Sheida Hosseini, and Shishir Pandya. "Scoping of an Air Supply System for Active Flow Control on a Commercial Transport Airplane." In AIAA SCITECH 2024 Forum. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2024. http://dx.doi.org/10.2514/6.2024-1934.

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Duvall, Michael, and Andrew Hodgkinson. "River Lea Crossing Refurbishment & Strengthening: A case study for refurbishment of an historic bridge." In IABSE Symposium, Manchester 2024: Construction’s Role for a World in Emergency. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2024. http://dx.doi.org/10.2749/manchester.2024.0500.

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<p>The River Lea Crossing was completed in 1934 and remains in service today, carrying the A13 in East London over a tributary to the River Thames. The crossing comprises a single two-pinned arch span of approximately 61m. The bridge is constructed of steel and is supported on huge mass concrete abutments. Due to the expectations that it was nearing the end of its service life the was planned to be replaced by 2030. An extensive programme of surveys, inspection, monitoring and assessment of the superstructure and substructure, going beyond the normal requirements of current inspection and assessment standards, demonstrated that the bridge could be retained and refurbished to considerably extend its serviceable life.</p><p>This paper presents a case study of the project providing an example for future bridge rehabilitation schemes, which will inevitably become more prevalent as the industry learns to make better use of existing assets and build less in response to the Climate Emergency.</p>
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Schumann, William. "BLACK MOUNTAIN COLLEGE SEMESTER: (RE) LEARNING EXPERIMENTATION IN ARTS AND CULTURE EDUCATION." In 2024 SoRes Paris –International Conference on Interdisciplinary Research in Social Sciences, 11-12 January. Global Research & Development Services, 2024. http://dx.doi.org/10.20319/icssh.2024.0102.

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Black Mountain College Semester (BMCS) was an interdisciplinary teaching and public education project implemented in 2018 at Appalachian State University in mountainous western North Carolina, USA. BMCS drew over 30,000 attendees and participants despite the rural character of the project area. Based on the experimental pedagogy of the influential Black Mountain College (1934=1963), the ten-month, multi-sited BCMS project sought to create intentional spaces of interdisciplinary collaboration–bringing the humanities, social sciences, arts, and design sciences into conversation–but more importantly, to facilitate the development of experimental cross-disciplinary and academic-public collaborations independently of the project leadership team. This paper offers a brief overview of Black Mountain College, followed by a discussion of the decentralized project design and the analysis of two project case studies. BMCS planning started with the original College principles of experiential and democratic learning philosophy, which invited participation and collaboration across hierarchical academic silos. Fundamentally, the concept of independent inquiry, not specific project outcomes, drove this process. Faculty, administrators, staff, non-profit leaders, educators, and the public contributed to events as varied as exhibitions, public talks, workshops, publications, theater, music, and curriculum design across four project sites. The first case study describes an interdisciplinary faculty fellowship program, created by project leaders, to support the application of learning concepts from Black Mountain College in university courses. The second describes the process of creating an interactive website linked to three museum exhibitions that extended BMCS into public domains and extra-academic spaces of learning. Broadly, this paper analyzes the process of co-creating methods of experiential learning on and beyond a university campus. Project assessment data is utilized to contextualize public responses to BMCS and discuss future directions for the project.
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Journal articles
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