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Journal articles on the topic 'Backstage'

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Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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1

Wagoner, David. "Backstage." Yale Review 89, no. 3 (July 2001): 138–39. http://dx.doi.org/10.1111/0044-0124.00536.

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2

Shapiro, Marian Kaplun. "Backstage." Survey of Ophthalmology 56, no. 1 (January 2011): 94. http://dx.doi.org/10.1016/j.survophthal.2010.08.005.

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3

CORNWELL, MAX. "BACKSTAGE." Australian and New Zealand Journal of Family Therapy 9, no. 4 (December 1988): iii. http://dx.doi.org/10.1002/j.1467-8438.1988.tb01263.x.

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4

Zehnder, Adalbert. "Backstage aufgewertet." kma - Klinik Management aktuell 17, no. 09 (September 2012): 10. http://dx.doi.org/10.1055/s-0036-1576594.

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Die Sana Kliniken AG hat die Verantwortung für Technisches Facility Management und Services auf Vorstandsebene angesiedelt – als zweite private Klinikkette und als einer der wenigen Krankenhausbetreiber in Deutschland überhaupt.
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5

Higgs, Catriona, and Lea Ann “Beez” Schell. "Backstage, Frontstage." Journal of Homosexuality 36, no. 1 (June 22, 1998): 63–77. http://dx.doi.org/10.1300/j082v36n01_04.

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6

CAHILL, SPENCER E., WILLIAM DISTLER, CYNTHIA LACHOWETZ, ANDREA MEANEY, ROBYN TARALLO, and TEENA WILLARD. "Meanwhile Backstage." Urban Life 14, no. 1 (April 1985): 33–58. http://dx.doi.org/10.1177/0098303985014001002.

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7

Tadros, Mariz. "Backstage Governance." IDS Bulletin 43, no. 1 (December 23, 2011): 62–70. http://dx.doi.org/10.1111/j.1759-5436.2012.00291.x.

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8

Bjerck, Hein B. "NAR Backstage." Norwegian Archaeological Review 39, no. 2 (October 2006): 105–9. http://dx.doi.org/10.1080/00293650601135385.

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9

Palmer, Zachary, and Scott F. Smith. "Backstage Java." ACM SIGPLAN Notices 46, no. 10 (October 18, 2011): 939–58. http://dx.doi.org/10.1145/2076021.2048137.

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10

Lamartina, Claudio, R. Cecchinato, M. Ismael, C. Martini, and P. Berjano. "Backstage pass." European Spine Journal 25, no. 8 (July 19, 2016): 2345–46. http://dx.doi.org/10.1007/s00586-016-4706-y.

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11

Te Punga Somerville, Alice. "Indigenous Backstage Pass." International Journal of Critical Indigenous Studies 14, no. 1 (August 24, 2021): 65–78. http://dx.doi.org/10.5204/ijcis.1718.

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In her poem "from turtle island to aotearoa," Anishinaabeg writer Kateri Akiwenzie-Damm writes about travelling to the other side of the world and finding ways to connect. For my part, I have taken the ‘reverse’ journey many times from Aotearoa to Turtle Island, and the poem has both nudged and nurtured my thinking about the promises and limits of Indigenous-Indigenous connections. In Indigenous Studies, we have made really important claims about the need to research our own people, and the limits of work conducted by outsiders. In this article, I reflect on the conundrum of being an Indigenous outsider in much of my current research project in which I, as a Māori scholar, engage the works of Māori writers alongside Indigenous writings from Australia, Fiji and Hawai'i. How does working in Indigenous Studies as a discipline shape my approach to researching others? Does being an Indigenous researcher give me a backstage pass?
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12

Boyd, Julianne, and Barbara C. Adachi. "Backstage at Bunraku." Asian Theatre Journal 7, no. 1 (1990): 116. http://dx.doi.org/10.2307/1124044.

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13

Plumb, Christopher. "A journey backstage." Endeavour 32, no. 2 (June 2008): 41–42. http://dx.doi.org/10.1016/j.endeavour.2008.04.001.

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14

Wu, David Shih. "A Glimpse Backstage." JAMA 295, no. 17 (May 3, 2006): 1979. http://dx.doi.org/10.1001/jama.295.17.1979.

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15

Liu, Yi-Fen, Yingzi Xu, and I.-Ling Ling. "The impact of backstage cues on service evaluation." International Journal of Quality and Service Sciences 9, no. 2 (June 19, 2017): 165–83. http://dx.doi.org/10.1108/ijqss-04-2016-0024.

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Purpose This research aims to investigate how backstage visibility affects intangibility and perceived risk at the pre-purchase stage and how service credence moderates the effect of backstage visibility on intangibility and perceived risk. It also focuses on the effect of backstage visibility on perceived service quality and value at the post-purchase stage and the moderating role of the service contact level. Design/methodology/approach This research tests the causal relationships between backstage visibility and customers’ service evaluations through two experimental studies. Findings Study 1 shows that customers who are exposed to backstage cues perceive less pre-purchase risk in the service than those who are not exposed. Pictures plus text information are more effective than text illustrations alone for risk reduction. This risk reduction effect is stronger for high-credence than for low-credence services and is partially mediated by the perceived intangibility of the service. Study 2 reveals that customers with access to backstage cues perceive higher service quality and higher overall value from service experiences. The value increase is more significant for high-contact than for low-contact services. Research limitations/implications Future research could apply different methods to different data sources to provide further insight about backstage visibility. Originality/value The findings of this research suggest that allowing customers to view some backstage activities before purchase helps tangibilize the service, achieve more effective communication with customers and create more positive service experiences.
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16

Kroll, Alexander, Milena I. Neshkova, and Sanjay K. Pandey. "Spillover Effects From Customer to Citizen Orientation: How Performance Management Reforms Can Foster Public Participation." Administration & Society 51, no. 8 (January 11, 2017): 1227–53. http://dx.doi.org/10.1177/0095399716687341.

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Government reforms, even when inspired by competing schools of thought, might reinforce each other in unexpected ways. This study shows how performance management can bolster citizen participation, despite the fact that the two approaches have been associated with different reform movements. We argue that by fostering a positive state of mind toward external feedback, performance management reforms have made public administrators more receptive to citizen input. We also distinguish between “frontstage” and “backstage” modes of citizen participation and, using data on U.S. local governments, find greater spillover effects occurring on the backstages of public administration.
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17

Kuehne, Jan. "Backstage of the Eye." Performance Research 26, no. 5 (July 4, 2021): 86–92. http://dx.doi.org/10.1080/13528165.2021.2028446.

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18

Dmitriyev, V. P. "Backstage Mechanics of Electricity." Physics Essays 11, no. 3 (September 1998): 400–407. http://dx.doi.org/10.4006/1.3025317.

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19

van Hulst, Merlijn. "Backstage Storytelling and Leadership." Policing: A Journal of Policy and Practice 11, no. 3 (April 27, 2017): 356–68. http://dx.doi.org/10.1093/police/pax027.

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20

Tanner, Judith. "Backstage in the theatre." Journal of Advanced Nursing 32, no. 4 (October 2000): 975. http://dx.doi.org/10.1046/j.1365-2648.2000.01564.x.

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21

Tanner, Judith, and Stephen Timmons. "Backstage in the theatre." Journal of Advanced Nursing 32, no. 4 (October 2000): 975–80. http://dx.doi.org/10.1046/j.1365-2648.2000.t01-1-01564.x.

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22

Holland, Stephen, and Claire Hudson. "Cross-sectoral working, Backstage." Art Libraries Journal 28, no. 1 (2003): 24–27. http://dx.doi.org/10.1017/s0307472200012955.

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Backstage, a major resource discovery project for the performing arts, aims to create a single portal for information on performing arts holdings across the UK. Its content will combine directory-style information for individual institutions with more detailed collection level and item level records. The project has provided an opportunity for cross-sectoral working for the main partners – a group of universities led by Kent and Bristol, plus the Theatre Museum and the Institute for Learning & Research Technology – but problems of uneven funding available to the different sectors have had to be overcome. The project was due for completion in October 2002.
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23

Gottweis, Herbert. "Biotechnology Backstage. Paul Aebersold." Isis 91, no. 4 (December 2000): 829–30. http://dx.doi.org/10.1086/385021.

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24

NAKAJIMA, Ken. "Backstage of Annual Symposium." Hyomen Kagaku 33, no. 8 (2012): 425. http://dx.doi.org/10.1380/jsssj.33.425.

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25

Bry, François, and Alexander Yong-Su Pohl. "Large class teaching with Backstage." Journal of Applied Research in Higher Education 9, no. 1 (February 6, 2017): 105–28. http://dx.doi.org/10.1108/jarhe-06-2015-0042.

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Purpose Several challenges of today’s higher education were motivations to reconsider the contents and formats of lectures and tutorials and to conceive the classroom communication system Backstage, a social media platform supporting a novel form of large-class teaching. The purpose of this paper is to report on the challenges met, on the novel teaching form and on an evaluation of this teaching form. Design/methodology/approach The use of Backstage in two courses is evaluated. One of the courses has been specially adapted to promote student participation, the other course has been held in a traditional way. To investigate the usefulness and acceptance of Backstage in the given settings the data collected on Backstage and student responses in surveys are analyzed. Findings The results indicate that Backstage can foster interactivity and awareness in large-class lectures when used in combination with a teaching format that provides opportunities for and encourges lecture-relevant communication. Furthermore, students appreciated the use of Backstage. Research limitations/implications This paper reports on a case study which lacks generalizability. Further studies under controlled conditions and of the learning effectiveness of the approach are still outstanding. Practical implications This paper describes an approach fostering a form of Active Learning in large classes. Since large classes are widespread in higher education, the approach has a considerable practical potential. Social implications The paper describes an approach to large class higher education teaching in using social media. Originality/value Similar results have not been published so far.
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26

SAITO, Kimiaki. "Backstage of the Mapping Project." RADIOISOTOPES 62, no. 10 (2013): 791–98. http://dx.doi.org/10.3769/radioisotopes.62.791.

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27

Ker, Prof James. "Cryptogenic, Embolic Stroke—Looking Backstage." Journal of Stroke and Cerebrovascular Diseases 31, no. 5 (May 2022): 106353. http://dx.doi.org/10.1016/j.jstrokecerebrovasdis.2022.106353.

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28

Kiely, Bridget. "Theatre: Backstage in Biscuit Land." British Journal of General Practice 65, no. 631 (January 26, 2015): 89. http://dx.doi.org/10.3399/bjgp15x683725.

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29

ÇOLAK BOSTANCI, Gülcan. "The Backstage Of The Personifıcation." Journal of Turkish Studies Volume 4 Issue 3, no. 4 (2009): 362–75. http://dx.doi.org/10.7827/turkishstudies.685.

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30

Essin, Christin. "An Aesthetic of Backstage Labor." Theatre Topics 21, no. 1 (2011): 33–48. http://dx.doi.org/10.1353/tt.2011.0012.

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31

Cassidy, Michael, and Karen Medsker. "Backstage Heroes: PIQ Consulting Editors." Performance Improvement Quarterly 17, no. 2 (October 22, 2008): 3–4. http://dx.doi.org/10.1111/j.1937-8327.2004.tb00304.x.

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32

Aberer, Werner. "Allergy to colophony acquired backstage." Contact Dermatitis 16, no. 1 (January 1987): 34–36. http://dx.doi.org/10.1111/j.1600-0536.1987.tb02612.x.

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33

Vonderau, Asta. "Bologna Backstage. Infrastrukturen der Exzellenz." Zeitschrift für Kulturwissenschaften 9, no. 1 (June 1, 2015): 37–50. http://dx.doi.org/10.14361/zfk-2015-0108.

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34

Thornborrow, Joanna, and Louann Haarman. "Backstage activities as frontstage news." European Journal of Communication 27, no. 4 (December 2012): 376–94. http://dx.doi.org/10.1177/0267323112459529.

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35

Ruskai Melina, Lois. "Backstage With The Hot Flashes." Qualitative Inquiry 14, no. 1 (January 2008): 90–110. http://dx.doi.org/10.1177/1077800407308903.

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36

Jackson, Kathy Merlock. "Amp'd: A Father's Backstage Pass." Journal of American Culture 28, no. 1 (March 2005): 131–32. http://dx.doi.org/10.1111/j.1542-734x.2005.160_4.x.

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37

Stevenson, Deborah. "Hollywood Sisters: Backstage Pass (review)." Bulletin of the Center for Children's Books 60, no. 1 (2006): 45–46. http://dx.doi.org/10.1353/bcc.2006.0623.

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38

Davis, Paul. "Backstage Imperishables and Parochialism in Aesthetics." Cogito 10, no. 3 (1996): 220–25. http://dx.doi.org/10.5840/cogito19961038.

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39

Hunter, Lindsay Brandon. "Backstage in Biscuit Land by Touretteshero." Theatre Journal 69, no. 2 (2017): 267–68. http://dx.doi.org/10.1353/tj.2017.0029.

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40

Bailly, Maryse, and John Condeelis. "Cell motility: insights from the backstage." Nature Cell Biology 4, no. 12 (December 2002): E292—E294. http://dx.doi.org/10.1038/ncb1202-e292.

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41

Sykes, Lynne. "Specialist clinicians are often backstage heroes." Journal of Kidney Care 3, no. 1 (January 2, 2018): 5. http://dx.doi.org/10.12968/jokc.2018.3.1.5.

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42

Harris, Claire. "Backstage at the Glenbow Museum, Calgary." Callaloo 19, no. 1 (1996): 21–23. http://dx.doi.org/10.1353/cal.1996.0038.

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43

O’Brien, John. "Spoiled Group Identities and Backstage Work." Social Psychology Quarterly 74, no. 3 (August 4, 2011): 291–309. http://dx.doi.org/10.1177/0190272511415389.

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44

Fortey, Richard. "Natural history: Backstage at the museum." Nature 543, no. 7647 (March 2017): 618–19. http://dx.doi.org/10.1038/543618a.

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45

Coates, Jennifer. "Women Behaving Badly: Female Speakers Backstage." Journal of Sociolinguistics 3, no. 1 (February 1999): 65–80. http://dx.doi.org/10.1111/1467-9481.00063.

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46

Ekstrand, Mari, and Sigrid Damman. "Front and backstage in the workplace." Journal of Facilities Management 14, no. 2 (May 3, 2016): 188–202. http://dx.doi.org/10.1108/jfm-10-2015-0029.

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Purpose The ability of employees to handle work-related demands, structure their own work and manage workflow is highly important in today’s complex organisations. This paper aims to explore the impact of the office environment on employees’ ability to control interaction, structure their own work processes and handle work-related demands. The focus is on the influence of the physical premises, especially on how work within private, privileged and public work zones may affect perceptions of, and possibilities to control, customer interactions and other work-related demands. Design/methodology/approach The paper is based on a qualitative case study of a Norwegian finance corporation. The core method was semi-structured interviews, carried out with 29 employees and managers. The triangulated research design included observations, field notes, user logs and document analyses. Findings The findings indicate that, in a customer-centred work process, separate zones for customer-related work and for internal work provide employees with increased scope to handle work demands and perceive control in their work. Zoning helped structure the workflow and provided employees with new resources in customer interaction and other work tasks. Originality/value Broadening the focus on environmental control and work-related demands from individual coping to social interaction may provide more insight into factors influencing work processes and employee well-being in emerging workplace concepts.
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47

Gehling, Drew, Shaum Sridharan, Mark Fritz, David R. Friedmann, Yixin Fang, Milan R. Amin, and Ryan C. Branski. "Backstage at Broadway: A Demographic Study." Journal of Voice 28, no. 3 (May 2014): 311–15. http://dx.doi.org/10.1016/j.jvoice.2013.11.002.

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48

Huggins, Mike. "Exploring the Backstage of Victorian Respectability." Journal of Victorian Culture 22, no. 1 (December 20, 2016): 81–88. http://dx.doi.org/10.1080/13555502.2016.1262205.

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49

Bethune, Robert, Matazō Nakamura, Mark Oshima, and Matazo Nakamura. "Kabuki Backstage, Onstage: An Actor's Life." Asian Theatre Journal 9, no. 1 (1992): 123. http://dx.doi.org/10.2307/1124256.

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50

Holliday, Polly. "Theological Table-Talk Impressions from Backstage." Theology Today 46, no. 1 (April 1989): 48–54. http://dx.doi.org/10.1177/004057368904600108.

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“There is something going on in theatre—the acting and watching of a play—that is like something else that we know. … When God spoke, the world came into being. It was beautiful—a beautiful stage. God decided to tell a wonderful story. When man and woman entered, time began, and the play started.”
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