Relevant bibliographies by topics / Circus

Academic literature on the topic 'Circus'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Circus"

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Brachet, Jean-Paul. "Circus et circum : aperçus historiques." Revue de philologie, de littérature et d'histoire anciennes LXXVI, no. 2 (2002): 199. http://dx.doi.org/10.3917/phil.762.0199.

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Cummings, Scott T. "Big Circus, Little Circus." Journal of Popular Culture 20, no. 1 (June 1986): 119–25. http://dx.doi.org/10.1111/j.0022-3840.1986.2001_119.x.

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St Leon, Mark Valentine. "Circus." Sydney Journal 3, no. 1 (December 9, 2010): 1–22. http://dx.doi.org/10.5130/sj.v3i1.1495.

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From 1833 when two ropewalkers performed in Sydney, circus skills have provided popular entertainment. By the 1850s thousands watched circus performances outdoors and in purpose-built theatres. The travelling circus was prompted by goldrush crowds far from the cities, and became the default when circus men found it was easier to change audiences than to change repertoires. Sydney seasons were regular annual engagements for many of Australia's circuses well into the twentieth century. Strong links were formed with international performers, and exchanges between the American and Australian circus worlds were frequent.
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Moeller, Eileen. "Circus." Feminist Studies 28, no. 2 (2002): 268. http://dx.doi.org/10.2307/3178741.

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Szekely, George. "Circus." Art Education 48, no. 4 (July 1995): 44. http://dx.doi.org/10.2307/3193549.

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Bowdan, Janet. "Circus." Colorado Review 36, no. 1 (2009): 73. http://dx.doi.org/10.1353/col.2009.0042.

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Savich, Zach. "Circus." Iowa Review 37, no. 3 (December 2007): 149. http://dx.doi.org/10.17077/0021-065x.6333.

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Repertório, Teatro &. Dança. "HISTÓRIAS DO AQUI E AGORA: CABARÉ E TEATRALIDADE CIRCENSE [Erminia Silva]." REPERTÓRIO, no. 15 (July 7, 2010): 59. http://dx.doi.org/10.9771/r.v0i15.5213.

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<div>Nos últimos dez anos, no Brasil, grupos de artistas circenses que não possuem ligação específi ca com os circos itinerantes ou de lona, em geral oriundos de escolas de circos, artistas circenses profi ssionalizados ou não, procedentes de diversas áreas das manifestações artísticas (teatro, dança, música, etc.), têm experimentado organizar espetáculos que são denominados de cabaré. A idéia que perpassa essas iniciativas é a de que as apresentações contenham uma diversidade de números artísticos, reunindo, além do próprio grupo ou escola, organizadores do evento, também convidados externos a eles. A partir de um curso de história do circo em uma escola de circo: Cefac – Centro de Formação Profissional em Artes Circenses, foi possível debater com os alunos em sala de aula sobre a história do conceito, dos espetáculos e das casas denominadas cabaré, relacionando-a com as artes circenses. Deste processo, produziu-se este texto descritivo e analítico no sentido de propor um olhar sobre o significado do que seja estudar e pesquisar a história do circo. Tal perspectiva tem como referência a idéia de que vivenciamos um período dessa história, somos herdeiros e protagonistas da mesma. Ou seja, pensar num curso de história não significa só o passado, mas o ir fazendo, aqui e agora.<br><br />In Brazil, for the last ten years, circus artists who have no specifi c connection with itinerant or canvas circuses, who usually come from circus schools, either as professional circus artists or not, stemming from diverse areas of the arts (theater, dance, music, etc.), have organized shows known as cabaret. The concept within these initiatives is that presentations contain a diversity of numbers comprising not only the organizing groups or schools, but also a few external, visiting performers. By taking a Circus History course as a starting point at CEFAC, the Professional Circus Art Formation Center, it was possible to promote a classroom discussion on the history of such concept, shows and stages known as cabaret and its relation with circus as an art. The present paper stems from such process as a descriptive and analytical piece of work towards the proposal of an overview on the meaning of studying and researching the history of circus. Such view is referenced upon the idea that we have experienced a period of such history and that we are its heirs and protagonists. This implies that thinking in a history course does not mean the mere thinking of the past, but of the on going present, here and now.</div>
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Sharykov, Denys, and Inessa Lvova. "THE SPECIFICS OF CIRCUS COMPLEX TECHNICAL TRAINING WHEN WORKING WITH CIRCUS PROPS AND APPARATUS TODAY." Innovative Solution in Modern Science 2, no. 54 (October 2, 2022): 16. http://dx.doi.org/10.26886/2414-634x.2(54)2022.2.

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The article analyzes and defines the specifics of circus complex technical training when working with contemporary circus props and apparatus. Safety rules in the circus structure, as well as general technical requirements when working with circus apparatus and special props are being specified. Provides a clear description of technological devices and grids. Also, it is specified of production, technical and auxiliary premises. The conclusions of the study testify to the importance and clarity of knowledge of the specifics of circus complex and technical training for circus performers in specific structures in this area.Kеуwоrds:circus,contemporary circus props and apparatus, circus technical equipment, safety equipment in the circus.
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Ganin, Anatolii Andreevich, and Tatyana Vladimirovna Bushkova. "The development of circus art in Russia until 2035 in a cultural aspect." Человек и культура, no. 4 (April 2023): 41–50. http://dx.doi.org/10.25136/2409-8744.2023.4.43817.

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The role of the circus in the formation of the socio-cultural environment is determined. The aim of the work is to study the circus art in Russia in a cultural aspect. The subject of the study is the culturological aspect of the development of circus art until 2035; an analysis of two models of circus art: domestic and foreign is presented. The tasks and prospects in this area are outlined, the direction of further creative development of the Russian circus system until 2035 should be the creation of qualitatively new circus programs and performances using the capabilities of related arts (theatre, cinema, stage, etc.) and the use of modern technologies. The novelty of the study lies in the definition of the main trends in the development of circus art, the definition of global and domestic trends, a description of their features. The Russian circus industry is less segmented, unlike the Western one, which is distinguished by world-class high-tech shows, traditional circus troupes, circus performers with individual numbers. In Russia, the second segment is part of the circus system due to its demand among children and families. Recommendations are proposed for improving the circus business and its popularization: popularizing the circus as a form of family leisure, improving the human resources base, providing comprehensive support to the circus sector, etc.
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Dissertations / Theses on the topic "Circus"

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Boudreault, Julie. "Les nouveaux cirques, rupture ou continuité?" Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0015/NQ47555.pdf.

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Lavers, Katrina. "Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1496.

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This thesis is an investigation into modern circus from its beginnings in 1768 through to present day contemporary circus arts. Eight diverse bodies in modern and contemporary circus are explored. These eight bodies act as different lenses to focus enquiry into gaps or ruptures in the grand narratives of circus, to reveal previously missing voices and histories and to set in place new approaches to perceiving circus phenomena. In The Political Body, the phenomenon of embodied protest is identified and explored in relation to contemporary circus works. The importance of the engaged spectator is identified in determining political, poetic and metaphorical meanings in contemporary circus acts, even when those meanings go beyond what the artist may have originally intended. This active act of deciphering by the spectator can add to the perception of depth and complexity in some contemporary circus arts, which is especially relevant in works that can be read as a hybrid of performance art and circus. In The Body of Space, the importance of space as a central and defining element in the development of circus is highlighted. Circus is pinpointed as a forerunner in the development of innovative performance spaces and in the resultant emergence of new and influential performance aesthetics. In the section The Body of Zooësis the representations of two different animals in circus are traced. In the first chapter in this section The Body of the Horse - the horse is identified as being of pivotal importance to the development of modern circus. The horse’s history and its representation in circus are traced through from the beginnings of modern circus to the contemporary horse circuses now emerging in Quebec. In The Wild Body, the history of the representation of wild cats in circus is investigated in relation to a rising tide of popular support for the rights of animals. Circus’ responses to these shifts in public opinion are revealed in the emergence of new acts created to appease public concern, and in the emergence of new rhetoric designed to portray circuses as ‘cross-species families’ or ‘conservation arks.’ In The Extraordinary Body, after an initial exploration of the history of the exhibition of freaks in circus, the lack of differently abled performers in contemporary circus is interrogated. The phenomenon of ‘crip-face’ or ‘crip-drag’ in which the mannerisms of the disabled are adopted by able-bodied performers is investigated in contemporary circus performance and newly emerging circuses in England and Australia combining both disabled and able-bodied performers are identified. In The Exceptional Body the gradually reducing parameters for the performing body in contemporary circus are identified and interrogated. In The Unmarked Body, a gap in the grand narrative of circus is identified and the history of African American circus in North America is developed. This history is traced from the beginnings of modern circus in North America through to the present day. In The Resilient Body the origins of social circus are followed back two decades earlier than previous scholarship suggested. Father Jesus Silva in Spain would seem to be the originator of social circus when he started circus classes with orphaned and abandoned bodys in Spain, in the aftermath of the Spanish Civil War in the 1950s. Two theories concerned with the successful treatment of trauma are brought together to create a new theoretical underpinning that provides some context and points of reference to further the critical discourse surrounding the idea of social intervention and the treatment of trama through social circus. Following these diverse bodies into the insterstices between grand circus narratives has led to oblique readings into circus histories, rhetorics and practices. This thesis has revealed previously marginalized voices that are now brought into the historiography of circus. This thesis brings to the forefront crucial issues for future critical study in the emerging field of circus studies.
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Matheus, Rodrigo Inácio Corbisier [UNESP]. "As produções circenses dos ex-alunos das escolas de circo de São Paulo, na década de 1980 e a constituição do Circo Mínimo." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141937.

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Por meio do levantamento de reportagens da mídia impressa, da bibliografia existente e de entrevistas com pessoas que participaram do processo, este trabalho investiga o processo de constituição das primeiras escolas de circo da cidade de São Paulo, a Academia Piolim de Artes Circenses em 1978 e o Circo-Escola Picadeiro em 1984 e as transformações, internas e externas ao modo de organização do trabalho circense, que contribuíram para as distintas formas de produção da linguagem circense, em particular do circo paulistano e brasileiro. A partir dessas escolas, levantamos os grupos que surgiram, formados e fundados por alunos ou ex-alunos, com o intuito de explorar o conhecimento circense adquirido nas escolas e suas estéticas, propondo alterações nos modos de produção e constituição dos espetáculos circenses, assim como do próprio modo de organização do trabalho e do modo de formação e aprendizagem do circo. Esse levantamento permite discutir os conceitos “representação” (DELEUZE e GUATTARI, 1992, p. 19-20), ou seja, generalizações, resultando nos rótulos “universais” que surgiram para definir os circos no século XX, a maior parte dos quais associados a essa produção pós-escolas de circo, como Circo Contemporâneo, Circo Tradicional e Circo Novo, todos resultantes de uma disputa de poderes e saberes entre os atores históricos e sua relação entre si, com o poder público e com a mídia. Na parte final, apresenta-se um levantamento da trajetória artística do Circo Mínimo, o seu processo de constituição e uma análise de suas obras mais relevantes a partir das reações da imprensa escrita, à luz do que foi discutido até então. O trabalho termina concluindo sobre a diversidade sobre a linguagem das artes do circo, da impossibilidade de determinar sobre seus limites e fronteiras e como as condições históricas recentes do Brasil, em particular a ditadura civil-militar, contribuíram para aquelas transformações.
Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the “method of organizing the circus work”, which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal labels that came to the circus in the twentieth century, most of them associated with this circus of post-school production, such as Contemporary Circus, Traditional Circus and New Circus, all emerging from power and knowledge disputes between historical actors and their relationship with each other, the government and the media. In the final part, we made a gathering of the artistic career of the Circo Mínimo, the process of its constitution and an analysis of the most important works, based on the written press reactions, in the light of what has been discussed in this work so far. The work ends concluding on the diversity of the language of circus arts, since it is impossible to determine on its limits and boundaries and how recent historical conditions in Brazil, particularly the civil-military dictatorship, contributed to those changes.
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Freitas, Leonardo. "Model checking Circus." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425409.

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Jannuzzelli, Fernanda 1989. "Circo-teatro através dos tempos : cena e atuação no Pavilhão Arethuzza e no Circo de Teatro Tubinho." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285326.

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Orientador: Mario Alberto de Santana
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa visa traçar algumas considerações acerca do fenômeno conhecido como circo-teatro, sob o viés do trabalho do ator. Propôs-se, como recorte de estudo, a descrição de alguns elementos da encenação e interpretação de duas companhias circenses: o Circo-Teatro Pavilhão Arethuzza, uma das companhias de circo-teatro mais bem sucedidas do início do século XX e que encerrou suas atividades na década de 1960, e o Circo de Teatro Tubinho, um dos maiores representantes do circo-teatro na atualidade. Partindo do fato de que o espetáculo circense é sempre múltiplo e agregador de variadas linguagens artísticas, buscou-se, com essa pesquisa, compreender a arte de ator dos artistas dessas duas companhias e o modo como estes organizavam e organizam seus trabalhos. Afirma-se que a teatralidade, em seus mais variados formatos, sempre esteve presente no espetáculo circense desde sua origem "moderna" com Philip Astley, no século XVIII, e que, portanto, o circo-teatro não é a única, mas sim uma das diversas formas que a teatralidade circense assumiu ao longo dos anos. Afirma-se também que, em termos pedagógicos, o circo-teatro é uma escola formativa, com metodologia, princípios e caminhos próprios, constituindo um tipo de teatro tão relevante quanto o teatro tido como oficial. Assim sendo, essa pesquisa inspirada no fazer dos artistas circenses pode auxiliar o fazer de outros artistas, não oriundos desta escola e deste fazer teatral. E essa transposição é possível, pois, em última instância, todos os verdadeiros artistas buscam a mesma finalidade: a troca viva e verdadeira com seu público
Abstract: The purpose of this study is to set some considerations around the phenomenon known as drama-circus, under the scope of the acting work. It has been set out, as the point of study, the description of some acting and performing elements from two Circus Companies: Circo Teatro Pavilhão Arethuzza, one of the most successful drama-circus companies from the beginnig of the 20th century, which has shut down its activities in the 60¿s, and Circo de Teatro Tubinho, one of the greatest representatives of the drama-circus nowadays. Starting from the fact that a Circus show is always assorted and somatic of several artistic languages, this research has pursued the understanding of the art of the actor of the artists from these two companies and the way they organized and still organize their work. It has been stated that the theatrical performance, in its most diferente ways has always been presente in a Circus Show since its "modern" origin, done by Philip Astley, in the 18th century, and, therefore, the drama-circus is not the only one, but one of the several ways that circus theatrical performance has taken on along the years. It has been also asserted that, in pedagogical terms, the drama-circus is a ladder school, with its own methodology, principles and ways, composing a type of theater as relevant as the one known as oficial. Therefore, this study, inspired on the circus artist performance could also support the other artists performance, whose are not native of this theatrical performance. This transposition is achievable, because, as a last resort, all the real artists search the same goal: a vivid and truthful exchange with their audience
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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St, Leon Mark. "Circus & nation a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture /." Connect to full text, 2006. http://hdl.handle.net/2123/1702.

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Thesis (Ph. D.)--University of Sydney, 2006.
Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Philosophical and Historical Inquiry, Faculty of Arts. The name of the School on the title page appears as: School of History & Philosophical Inquiry. Includes bibliographical references. Also available in print form.
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Seymour, Kristy Danialle. "Bodies, Temporality and Spatiality in Australian Contemporary Circus." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376861.

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Informed and impelled by my professional experience as a circus artist, this dissertation maps the practice features and cultural influence of contemporary circus in Australia, investigating its development and situating it in relation to alternative circus practice internationally. I undertake a conceptual discussion of the development of Australian contemporary circus and of its current features. This involves the discussion of the milieu it created and continues to create for itself, the “middle…from which it grows and which it overspills” (Deleuze and Guattari 1987); its many lines of flight as sub-genres, styles, companies, training and sustainability; and its ability to renew and extend itself through continual processes of deterritorialisation and reterritorialisation. I explore the growth of the artform; its artistic processes; how spatiality has shaped contemporary circus, including the part played by certain 'circus cities' in industry development, and the relationships between performance venues and artistic processes; the national profile of contemporary circus and its major contribution to Australia’s international performing arts output. Simultaneously, I consider the performance of the contemporary circus body in space and time. I am interested in the diversity, multiplicities and “creative chaos” deployed by independent artists and major companies in the production of work, along with the nature and significance of embodiment, risk and trust in performance. This involves, for example, the influence of Chinese classical circus techniques in the training of Australian circus artists, as well as the impacts of feminist and queer ideologies and bodies on the practices of circus and the aesthetics of performance. Methodologically, the thesis is grounded in approaches and opportunities consequent upon the lived experience of an insider researcher who has participated in the industry as an aerial performer, artistic director, company manager, trainer and colleague. The case studies of key companies, practices and sites of practice are therefore based in interviews with a cross-section of practitioners and other industry personnel who recognised the value of the research. Similarly, the project has been enriched by an insider’s access to scarce but invaluable archival material as well as publicly accessible media reviews. Conceptually, I draw extensively on Deleuze and Guattari for ways of thinking processually about movement, rhythms, transformations, connectivity and potentiality in the artform, in relation to the bodies of performers, the spaces in which they perform and the contexts that they inhabit in terms of company structures, relations with Australian governments and other artforms, and in extensive international work. In addition to a range of scholars who have worked with and through Deleuze and Guattari in various ways, I make use of key insights from Foucault, Agamben, Butler, Grosz and Probyn. Utilising ideas and approaches that are allied, or at least aligned, in their modes of working with differences and complex relations, has helped me to fashion a discussion that I believe achieves coherence, given the large but potentially unwieldy array of primary and secondary material that informs it. This discussion is also facilitated throughout by a number of core observations regarding movements and interactions of bodies in spaces, for which I found particularly valuable perspectives in works by Peta Tait, Doreen Massey and Erin Manning. Taken together, these various conceptual strands and the ways of thinking that they model have enabled me to analyse how the success of Australian contemporary circus can be found in its ideological edginess, its emphatic physicality and extreme uses of the body, its challenges to “normal” notions of physical and spatial boundedness, and its particular ways of mixing chaotic and orderly processes which produce a sense of “authenticity in performance” for audiences. While aspects of the artform have been discussed in scholarly work (e.g. Tait, 2005) this is the first comprehensive study of Australian contemporary circus, its national development, and its international influence as a leader in innovation. As well as suggesting some approaches to understanding and conceptualising the extraordinary appeal of the sector for its participants and its audiences, I grapple with why it continues to be largely unrecognised in Australian national and state funding processes. I suggest that more serious conceptual discussion of the sector in scholarly and industry contexts might contribute to it being taken seriously in its home country, as it is internationally.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Yoshimura, Fernando Eidi. "Mapa das atividades circenses em Ribeirão Preto: uma visão dos instrutores do circo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/59/59140/tde-15052017-152846/.

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A partir da década de 1970 a prática do circo expandiu-se, assim como a disseminação de seu conhecimento para além das famílias de circenses inclusive com sua apropriação para fins sociais, recreativos e educativos. Esse trabalho criou um mapa das atividades circenses na cidade de Ribeirão Preto-SP sob o ponto de vista de onze instrutores do circo. A pesquisa foi de caráter qualitativo pautada na Teoria Fundamentada como método de pesquisa. Foram encontradas três grandes categorias, a saber: Vivências da prática, Construção do Conhecimento e Dinâmica da Sociedade, as quais influenciaram o Ensino desses instrutores, e que formaram o eixo central. Notou-se a origem do movimento circense na cidade pautada na escola de circo de uma família tradicional, a qual exerce grande influência nesse contexto. Dentre as inúmeras questões abordadas pelos entrevistados destacamos os meios de educação, a demanda social, as limitações, as referências, a filosofia de trabalho, as vivências de aprendizado e a forma de ensino. A articulação entre essas categorias gerou um conhecimento rico, que, se bem, apropriado, poderia beneficiar a formação de outros instrutores e, consequentemente, a qualidade da prática.
From the 1970s, circus practice expanded, as did the dissemination of their knowledge beyond circus families, including their appropriation for social, recreational and educational purposes. This work created a map of circus activities in the city of Ribeirão Preto-SP from the point of view of eleven instructors of the circus. The research was of qualitative character based on the Theory Grounded as research method. Three major categories were found: \"Experiences of Practice\", \"Knowledge Building\" and \"Society Dynamics\", which influenced the \"Teaching\" of these instructors, and which formed the central axis. It was interesting to note the origin of the circus movement in the city based on the circus school of a traditional family, which exerts great influence in this context. Among the many questions addressed by the interviewees we highlight the means of education, social demand, limitations, references, work philosophy, learning experiences and the way of teaching. The articulation between these categories generated rich knowledge, which, if appropriate, could benefit the training of other instructors and, consequently, the quality of practice.
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St, Leon Mark. "Circus & nation : a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1702.

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In Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.
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Wilson, Ame. "Cirque du Soleil reimagines the circus : the evolution of an aesthetic /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055722.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 145-155). Also available for download via the World Wide Web; free to University of Oregon users.
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Books on the topic "Circus"

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Zanin, Alice. Alice Zanin: Circus Circes. Albissola Marina (SV): Vanilla edizioni, 2014.

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author, Käding Caroline, Prince Mark author, Takis George Frederick translator, Grosenick Uta translator, Jackson Gerrit translator, and Kunstverein Freiburg, eds. Mark Grotjahn: Circus Circus. Freiburg: Kunstverein, 2014.

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Appel, Karel. Circus. [Ascona]: Galleria Sacchetti, 1990.

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O'Kelley, Mattie Lou. Circus! Boston: Atlantic Monthly Press, 1986.

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Hastings, Jack. Circus. Littleton, MA: Sundance, 2001.

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Mercedes, Yaique María Eugenia, Monti Rafaelivo Eugenio, and Gutiérrez Edis Lilian, eds. Circus. [Buenos Aires, Argentina]: Instituto Nacional del Teatro, 2000.

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Rolin, Olivier. Circus. Paris: Seuil, 2011.

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Roalf, Peggy. Circus. New York: Hyperion Books for Children, 1993.

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O'Kelley, Mattie Lou. Circus! Boston: Atlantic Monthly Press, 1986.

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Llinás, Julio. Circus. Buenos Aires: Grupo Editorial Norma, 2000.

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Book chapters on the topic "Circus"

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Hartel, Richard W., and AnnaKate Hartel. "Circus Peanuts." In Food Bites, 171–72. New York, NY: Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-75845-9_54.

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Bryant, Chris. "Science Circus." In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_323-2.

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Butterfield, Andrew, Adnan Sherif, and Jim Woodcock. "Slotted-Circus." In Lecture Notes in Computer Science, 75–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-73210-5_5.

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Long, Burke O. "The Circus." In The Blackwell Companion to the Bible and Culture, 365–80. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470997000.ch22.

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Bryant, Chris. "Science Circus." In Encyclopedia of Science Education, 866–68. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_323.

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Salys, Rimgaila. "Circus/Tsirk." In The Russian Cinema Reader, edited by Rimgaila Salys, 250–68. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618112132-028.

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Nesbit, E. "The Circus." In The Story of the Treasure Seekers and The Wouldbegoods, 204–19. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-34116-7_22.

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Beeler, Linda M. "The Circus." In Metaphors in Counselor Education and Supervision, 50–56. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003196266-7.

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Trapp, Franziska. "Reading circus." In 360° Circus, 100–114. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003231110-11.

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Rens, Fleur van. "Psycho-perceptual motor skills and visual anticipation in circus." In Circus Psychology, 115–22. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003289227-13.

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Conference papers on the topic "Circus"

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Hoffmann, Anne, and Christian Lescher. "Collaboration and Intercultural Issues on Requirements:Communication, Understanding and Softskills (CIRCUS)." In 2009 Collaboration and Intercultural Issues on Requirements: Communication, Understanding and Softskills (CIRCUS 2009). IEEE, 2009. http://dx.doi.org/10.1109/circus.2009.1.

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Roche, Patrick, Collin J. Goldbach, Alix Putman, Jeffrey A. Jalkio, Katie Kimball, and AnnMarie P. Thomas. "Circus Science." In TEI '20: Fourteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3374920.3374986.

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Huang, Hsin, Hsin-Chien Huang, Chun-Feng Liao, Ying-Chun Li, Tzu-Chieh Tsai, Li-jia Teng, and Shih Wei Wang. "Future circus." In the 2015 ACM International Joint Conference. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2800835.2801663.

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Marczak, Sabrina, Irwin Kwan, and Daniela Damian. "Investigating Collaboration Driven by Requirements in Cross-Functional Software Teams." In 2009 Collaboration and Intercultural Issues on Requirements: Communication, Understanding and Softskills (CIRCUS). IEEE, 2009. http://dx.doi.org/10.1109/circus.2009.2.

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"Mini-Tutorial:What Did You Say? Intercultural Expectations, Misunderstandings, and Communications." In 2009 Collaboration and Intercultural Issues on Requirements: Communication, Understanding and Softskills (CIRCUS). IEEE, 2009. http://dx.doi.org/10.1109/circus.2009.3.

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Laurent, Paula, and Jane Cleland-Huang. "Requirements-Gathering Collaborative Networks in Distributed Software Projects." In 2009 Collaboration and Intercultural Issues on Requirements: Communication, Understanding and Softskills (CIRCUS). IEEE, 2009. http://dx.doi.org/10.1109/circus.2009.4.

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Penzenstadler, Birgit, Gabriele Haller, Tobias Schlosser, and Gabriele Frenzel. "Soft Skills REquired: A Practical Approach for Empowering Soft Skills in the Engineering World." In 2009 Collaboration and Intercultural Issues on Requirements: Communication, Understanding and Softskills (CIRCUS 2009). IEEE, 2009. http://dx.doi.org/10.1109/circus.2009.5.

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Stapel, Kai, Eric Knauss, and Kurt Schneider. "Using FLOW to Improve Communication of Requirements in Globally Distributed Software Projects." In 2009 Collaboration and Intercultural Issues on Requirements: Communication, Understanding and Softskills (CIRCUS). IEEE, 2009. http://dx.doi.org/10.1109/circus.2009.6.

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Kimber, Don, Eleanor Rieffel, Jim Vaughan, and John Doherty. "Virtual physics circus." In Proceeding of the 16th ACM international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1459359.1459586.

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Ramirez, E. Minaya, S. Cabaret, R. Savreux, D. Lunney, Matko Milin, Tamara Niksic, Suzana Szilner, and Dario Vretenar. "The Ion Circus." In NUCLEAR STRUCTURE AND DYNAMICS ’09: Proceedings of the International Conference. AIP, 2009. http://dx.doi.org/10.1063/1.3232048.

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Reports on the topic "Circus"

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Turregano, Clemson G. Becoming the Ringmaster: Mastering the Three Ring Circus of the Strategic Environment. Fort Belvoir, VA: Defense Technical Information Center, April 2002. http://dx.doi.org/10.21236/ada404672.

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Weinschenk, Craig, Daniel Madrzykowski, and Paul Courtney. Impact of Flashover Fire Conditions on Exposed Energized Electrical Cords and Cables. UL Firefighter Safety Research Institute, October 2019. http://dx.doi.org/10.54206/102376/hdmn5904.

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A set of experiments was conducted to expose different types of energized electrical cords for lamps, office equipment, and appliances to a developing room fire exposure. All of the cords were positioned on the floor and arranged in a manner to receive a similar thermal exposure. Six types of cords commonly used as power supply cords, extension cords, and as part of residential electrical wiring systems were chosen for the experiments. The non-metallic sheathed cables (NMB) typically found in residential electrical branch wiring were included to provide a link to previous research. The basic test design was to expose the six different types of cords, on the floor of a compartment to a growing fire to determine the conditions under which the cord would trip the circuit breaker and/or undergo an arc fault. All of the cords would be energized and installed on a non-combustible surface. Six cord types (18-2 SPT1, 16-3 SJTW, 12-2 NM-B, 12-3 NM-B, 18-3 SVT, 18-2 NISPT-2) and three types of circuit protection (Molded case circuit breaker (MCCB), combination Arc-fault circuit interrupter (AFCI), Ground-fault circuit interrupter (GFCI)) were exposed to six room-scale fires. The circuit protection was remote from the thermal exposure. The six room fires consisted of three replicate fires with two sofas as the main fuel source, two replicate fires with one sofa as the main fuel source and one fire with two sofas and MDF paneling on three walls in the room. Each fuel package was sufficient to support flashover conditions in the room and as a result, the impact on the cords and circuit protection was not significantly different. The average peak heat release rate of the sofa fueled compartment fires with gypsum board ceiling and walls was 6.8 MW. The addition of vinyl covered MDF wall paneling on three of the compartment walls increased the peak heat release rate to 12 MW, although most of the increased energy release occurred outside of the compartment opening. In each experiment during post flashover exposure, the insulation on the cords ignited and burned through, exposing bare conductor. During this period the circuits faulted. The circuit protection devices are not designed to provide thermal protection, and, thus, were installed remote from the fire. The devices operated as designed in all experiments. All of the circuit faults resulted in either a magnetic trip of the conventional circuit breaker or a ground-fault trip in the GFCI or AFCI capable circuit protection devices. Though not required by UL 1699, Standard for Safety for Arc-Fault Circuit-Interrupters as the solution for detection methodology, the AFCIs used had differential current detection. Examination of signal data showed that the only cord types that tripped with a fault to ground were the insulated conductors in non-metallic sheathed cables (12-2 NM-B and 12-3 NM-B). This was expected due to the bare grounding conductor present. Assessments of both the thermal exposure and physical damage to the cords did not reveal any correlation between the thermal exposure, cord damage, and trip type.
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Baughman, Alfred, Tyler Bowman, Ross Guttromson, Matthew Halligan, Tim Minteer, Travis Mooney, and Chad Vorse. HEMP Testing of Substation Yard Circuit Breaker Control and Protective Relay Circuits. Office of Scientific and Technical Information (OSTI), September 2020. http://dx.doi.org/10.2172/1669208.

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Rucinski, R. Mechanical and Cryogenic Teting of VLPC Flex Circuits Made by Litchfield, Cirexx, and Speedy Circuit. Office of Scientific and Technical Information (OSTI), December 1998. http://dx.doi.org/10.2172/1032098.

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Tow Leong, Tiang, Mohd Saufi Ahmad, Ang Qian Yee, Syahrun Nizam Md Arshad@Hashim, Mohd Faizal Mohd Zahir, Mohd Azlizan Moh Adib, Nazril Husny, Tan Kheng Kwang, and Dahaman Ishak. HANDBOOK OF ELECTRICAL SYSTEM DESIGN FOR NON-DOMESTIC BUILDING. Penerbit Universiti Malaysia Perlis, 2023. http://dx.doi.org/10.58915/techrpt2023.001.

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This technical report presents the electrical system installation design for development of a factory with 1 storey and 2 storey of offices. Firstly, the general methodology of designing the electrical system are elaborated in this report. As overall, the methodologies in designing the components of the electrical system are explained and elaborated, which included: (a) load and maximum demand estimation; (b) miniature circuit breaker (MCB) selection; (c) moulded case circuit breaker (MCCB) selection; (d) air circuit breaker (ACB) selection, (e) residual current device (RCD) selection; (f) protection relay selection; (g) current transformer (CT) selection; (h) sizing selection for cable and live conductors; (i) capacitor bank selection for power factor correction (PFC); and (j) distribution transformer and its protection devices selection. Then, the electrical system of this project is computed and designed by using the methodologies aforementioned. Firstly, the electrical system of various distribution boards (DBs) with the protection/metering devices along with its phase and earthing cables for every final circuits are designed and installed in the factory. Next, the installation is proceeded with the electrical system of main switchboard (MSB) with the protection/metering devices along with its phase and earthing cables for every DBs. Also, the electrical system of PFC by using detuned capacitor bank with various protection/metering devices is designed and built in the plant. Apart from that, the factory is equipped with the electrical system of high tension (HT) room that included the distribution power transformer with the protection/metering devices along with its phase and earthing cables. Lastly, the methodologies and the computation design of the electrical system installation in the context of connected load, load currents, maximum demand, MCB, MCCB, ACB, RCD, protection relay, metering CTs, live cable, protection conductor/earth cable, detuned capacitor bank, and distribution transformer, are prepared according to several important standards, for instance, the MS IEC 60364, Electrical Installations for Buildings, Suruhanjaya Tenaga (ST) – Non-Domestic Electrical Installation Safety Code, Electricity Supply Application Handbook, Tenaga Nasional Berhad (TNB).
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Liou, Kuo-Nam. Laser Transmission Through Cirrus Clouds. Fort Belvoir, VA: Defense Technical Information Center, May 2004. http://dx.doi.org/10.21236/ada423867.

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DuPuis, Jenny Leigh, and Lushan Sun. CIRCUitS. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-258.

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Shonhe, Toendepi. Covid-19 and the Political Economy of Tobacco and Maize Commodity Circuits: Makoronyera, the ‘Connected’ and Agrarian Accumulation in Zimbabwe. Institute of Development Studies (IDS), March 2021. http://dx.doi.org/10.19088/apra.2021.009.

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This paper analyses the global commodity circuits – value chains – for maize and tobacco in Zimbabwe, in the context of a reconfigured agrarian economy and COVID-19 induced shocks. The study focuses on the political economy dynamics of agricultural commodity circuits to reveal how they can contribute to understanding the drivers and constraints of agricultural commercialisation in Zimbabwe. This paper traces the circuits of maize and tobacco, the two major crops for food security and foreign currency earnings in Zimbabwe.
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Cinlar, Erhan, and J. G. Wang. Random Circles and Fields on Circles. Fort Belvoir, VA: Defense Technical Information Center, May 1986. http://dx.doi.org/10.21236/ada171833.

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