Relevant bibliographies by topics / Cunningham

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Cunningham'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Cunningham.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Cunningham"

1

Gillies, Malcolm GW. "Stuart Cunningham: From creative industries to creative economies, and beyond." Media International Australia 182, no. 1 (October 6, 2021): 7–12. http://dx.doi.org/10.1177/1329878x211043893.

Full text
Abstract:
This paper explores Stuart Cunningham’s thought leadership in ‘creative’ spaces since the turn of the millennium. It presents the author's personal glimpses of Cunningham's contributions to scholarship and advocacy, ranging from Cunningham and Hartley's exposé on the recently-titled creative industries at the National Humanities and Social Sciences Summit (Canberra, 2001), through the establishment of QUT's Centre of Excellence (Brisbane, 2005) and its European node (London, 2008), to Cunningham's more recent work with creative economies and their opportunities, including his influence upon Australia's Cultural and Creative Economy: A 21st-Century Guide (Canberra, 2020). The paper concludes with some comments about continuing resistance to substantial investment in Australia's creative industries, and Cunningham's call for a more united voice in their advocacy.
APA, Harvard, Vancouver, ISO, and other styles
2

Callahan, Daniel M. "The Gay Divorce of Music and Dance: Choreomusicality and the Early Works of Cage-Cunningham." Journal of the American Musicological Society 71, no. 2 (2018): 439–525. http://dx.doi.org/10.1525/jams.2018.71.2.439.

Full text
Abstract:
This article explores the early collaborations of John Cage and Merce Cunningham, in which music and dance were united structurally and in expressive intent. Drawing on unexamined archival materials, I begin by highlighting the thematic content of the earliest Cage-Cunningham collaborations, Credo in Us (1942) and Four Walls (1944), of Cunningham's (rather than Martha Graham's) choreography for the Revivalist's solo in Appalachian Spring (1944), and of Cage's The Perilous Night (1943–44), premiered at the couple's debut concert. These works all portray a conflict between sexual desire and social conformity through marriage, a theme of pressing import as Cage left his wife to become Cunningham's partner. I then elucidate the programmatic nature of the first and last works that Cunningham choreographed to the music of Satie, Idyllic Song (1944) and Second Hand (1970), both of which use Cage's arrangements for piano of Satie's Socrate. Placing Cunningham's personal choreographic notes in dialogue with my own observation of rehearsals and performances, I suggest that Second Hand dramatizes not only the Socratic texts set in Satie's score but also the couple's relationship and their earlier dependence on and subsequent rejection of personal expression, a rejection that heightened their status within the postwar avant-garde. Instead of dismissing the collaborations of the 1940s as “early” or “anomalous,” I suggest that they are fundamental to understanding how Cage and Cunningham's relationship prior to their de facto marriage led to one of the most productive divorces in the history of artistic collaboration.
APA, Harvard, Vancouver, ISO, and other styles
3

Bilston, Sarah. "“YOUR VILE SUBURBS CAN OFFER NOTHING BUT THE DEADNESS OF THE GRAVE”: THE STEREOTYPING OF EARLY VICTORIAN SUBURBIA." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 621–42. http://dx.doi.org/10.1017/s1060150313000144.

Full text
Abstract:
While literary critics have becomeincreasingly engaged by the impact of suburbanization on the literary landscape, most scholarship has focused on texts from the late-nineteenth and early-twentieth centuries. The belief that suburbia appeared only occasionally in literature before this period is commonplace: as Gail Cunningham observes: “Although the term ‘suburb’ was used from Shakespeare and Milton onwards . . . it was not until the final decades of the nineteenth century that writers turned to suburban life as a subject of imaginative investigation” (Cunningham, “Riddle” 51). Cunningham's important work on suburban narrative positions authors of the late nineteenth century as architects of “the new imaginative category suburban,” one that was substantially shaped by the experience of observing and living amongst “newly massed middle classes” (Cunningham, “Riddle” 52). “[F]or many writers . . . the prime response to the new suburbia was one of anxiety and disorientation,” she argues. “How were they to conceptualize the sudden appearance of the new spatial environment?” (Cunningham, “Houses” 423). Yet Cunningham's emphasis on the newness of both the category and the lived experience underestimates the impact of suburbanization on the totality of the period. Suburbanization was a phenomenon that Victorian society had been experiencing, and responding to, for at least eight decades by the time of Victoria's death. Literary narratives engaging suburbia from these eight decades undoubtedly exist: they have received scant critical attention, yet they constitute a crucial tradition without which the most famous late-nineteenth-century texts of suburbia cannot be adequately understood.
APA, Harvard, Vancouver, ISO, and other styles
4

Shaheen, Ifqut, and M. Ashraf Khan. "An Appreciation of Sir Alexander Cunningham’s Explorations at Taxila in the Light of His Methodological Framework." FWU Journal of Social Sciences 14, no. 4 (December 15, 2020): 140–48. http://dx.doi.org/10.51709/fw127212.

Full text
Abstract:
Indian archaeology adopted sounder and viable conceptual tools for fieldwork in the later nineteenth century. The name of Sir Alexander Cunningham, the two times head of Archaeological Survey of India, is of special significance in this connection. This paper particularly focuses on his methods for archaeological survey and data collection. In the first place, Cunningham’s arrival into India has been traced. Next, his archaeological methods and approach have been delineated. It is followed by outlining what Cunningham did at Taxila especially in line with his conceptual understanding. Finally, all this has further been related to the intellectual environs of the time.
APA, Harvard, Vancouver, ISO, and other styles
5

Craig, David. "A Pedagogue's Progress, the Cunningham Turn, and the Birth of Creator Studies." Media International Australia 182, no. 1 (October 13, 2021): 59–66. http://dx.doi.org/10.1177/1329878x211043898.

Full text
Abstract:
As partners in an ongoing global research initiative over the past 6 years, Queensland University of Technology Distinguished Professor Stuart Cunningham and University of Southern California Clinical Professor David Craig mapped the rise of two competing communication and media industries, Social Media Entertainment and Wanghong. Alongside other vanguard scholars, Cunningham and Craig identified and framed the emergence of Creator Studies, an interdisciplinary field of studies focused on the dynamics of new forms of cultural production across social media platforms from diverse fields, methods, and epistemologies. These developments are described within a picaresque auto-ethnographic account of Cunningham's influence on the author's progression from Hollywood producer to scholar and pedagogue.
APA, Harvard, Vancouver, ISO, and other styles
6

Noland, Carrie. "The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression." Dance Research Journal 42, no. 1 (2010): 47–60. http://dx.doi.org/10.1017/s0149767700000826.

Full text
Abstract:
Where is expression in Cunningham's choreography? Are the moving bodies on stage expressive? If so, what are they expressing and how does such expression occur? Several of the finest theorists of dance—among them, Susan Leigh Foster, Mark Franko, and Dee Reynolds—have already approached the question of expressivity in the work of Merce Cunningham. Acknowledging the formalism and astringency of his choreography, they nonetheless insist that expression does indeed take place. Foster locates expression in the “affective significance” as opposed to the “emotional experience” of movement (1986, 38); Franko finds it in an “energy source … more fundamental than emotion, while just as differentiated” (1995, 80); and Reynolds identifies expression in the dancing subject's sensorimotor “faculties” as they are deployed “fully in the present” (2007, 169). Cunningham himself has defined expression in dance as an intrinsic and inevitable quality of movement, indicating that his search to capture, isolate, and frame this quality is central to his choreographic process. As a critical theorist (rather than a dance historian), I am interested in expression as a more general, or cross-media, category and therefore find the efforts by Cunningham and his critics to define expression differently, to free it from its subservience to the psyche, refreshing, unconventional, and suggestive. I have become increasingly convinced that Cunningham's practical and theoretical interventions can illuminate more traditional literary and philosophical discourses on the aesthetics of expression and that they have particular resonance when juxtaposed with the approach to expression developed by Theodor Adorno in his Aesthetic Theory of 1970. Similar to Cunningham, Adorno complicates the category of “expression” by shifting its location from subjectivity, understood primarily as a psychic phenomenon, to embodiment, understood as a function of locomotion and sensual existence (in Franko's words, “something more fundamental than emotion, while just as differentiated” [1995, 80]).
APA, Harvard, Vancouver, ISO, and other styles
7

O’Hear, Michael M. "Cunningham." Federal Sentencing Reporter 18, no. 4 (April 1, 2006): 260–61. http://dx.doi.org/10.1525/fsr.2006.18.4.260.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Lotz, Amanda D. "New Patterns of Flow and Rethinking International Mediascapes: The Influence of Stuart Cunningham on Theories of Television's Travels." Media International Australia 182, no. 1 (October 29, 2021): 48–53. http://dx.doi.org/10.1177/1329878x211043896.

Full text
Abstract:
Stuart Cunningham contributed to important publications that advanced thinking about transnational media flows, much of which remains relevant a quarter of a century later. This essay explores Cunningham's collaborations with Elizabeth Jacka and John Sinclair in ‘Australian Television and International Mediascapes' and ‘New Patterns in Global Television: Peripheral View’ to explore the prescient and productive theoretical innovations these books offered the field.
APA, Harvard, Vancouver, ISO, and other styles
9

Noland, Carrie. "Ethics, Staged." Performance Philosophy 3, no. 1 (June 25, 2017): 67. http://dx.doi.org/10.21476/pp.2017.31165.

Full text
Abstract:
This article stages a dialogue between Giorgio Agamben�s theory of gesture and the 2016 reconstruction of Merce Cunningham�s 1964 choreography, Winterbranch. This juxtaposition encourages a comparison between Agamben's and Cunningham's respective approaches to the semiotics of dance, the way that dance can generate meaning but also evade meaning in a way that Agamben deems "proper" to the "ethical sphere." For Agamben, dance is composed of what he calls "gestures" that have "nothing to express" other than expressivity itself as a "power" unique to humans who have language. For Cunningham, dance is composed of what he calls "actions," or at other times "facts"�discrete and repeatable movements sketched in the air that reveal the "passion," the raw or naked "energy" of human expressivity before that energy has been directed toward a specific expressive project. I will look more closely at what Cunningham means by "actions," and to what extent they can be considered "gestures" in Agamben's terms; I will also explore the "ethical sphere" opened by the display of mediality, the "being-in-a-medium" of human beings. What, then, do dance gestures expose that ordinary gestures do not? Why would such an exposure be �ethical� in Agamben�s terms? And why would (his notion of) the ethical rely on a stage?
APA, Harvard, Vancouver, ISO, and other styles
10

McKeever, Gerard Lee. "Extreme Attachment." Nineteenth-Century Literature 77, no. 4 (March 1, 2023): 223–52. http://dx.doi.org/10.1525/ncl.2023.77.4.223.

Full text
Abstract:
Gerard Lee McKeever, “Extreme Attachment: Allan Cunningham’s ‘South Countree’” (pp. 223–252) This article positions Allan Cunningham (1784–1842) as an extreme case of literary place-making in the first half of the nineteenth century. Cunningham lived from 1810 in London, where he became superintendent of the sculptor Francis Chantrey’s workshop. Yet over the following decades, he produced literary work that is remarkably consistent in its return to his native southwest Scotland and the Anglo-Scottish borders region, developing a longue durée imaginative geography through a rotating cast of characters, places, tales, and topoi. This work emblematizes a moment in the transformation of the long-eighteenth-century condition of “nostalgia,” or homesickness, which over the course of the nineteenth century became a patriotic virtue and—eventually—an aestheticized sense of the past. The article interrogates Cunningham’s overall literary career from a geographical perspective, before focusing in on two unfairly neglected later works: the long poem The Maid of Elvar (1832) and his final novel, Lord Roldan (1836). In general, Cunningham’s work performs regional attachment in such a precariously literary manner that it forces the reader to reckon with the imaginative quality of belonging. By the 1830s, however, it had reached an acutely self-referential phase, exercising and recycling a vocabulary of belonging that had been decades in the making.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Cunningham"

1

Andrade, Sueli Chaves. "Chris Cunningham: autoria em videoclipe." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5263.

Full text
Abstract:
Made available in DSpace on 2016-04-26T18:18:16Z (GMT). No. of bitstreams: 1 SUELI CHAVES ANDRADE.pdf: 1899038 bytes, checksum: caec769991464b555c1e9cedd9bc20dc (MD5) Previous issue date: 2009-10-26
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The work from the video artist Chris Cunningham is the main theme of this research. The several audiovisual productions of this director include video installations, advertising and mainly music videos. There are two reasons for the choice of this object. The first one is related to the contemporary themes of Cunningham´s projects such as cyborg and freak bodies in the context of the post-human issue. The second reason is the possibility of placing the British as author in the audiovisual field. The music videos All Is Full Of Love (1999) and Rubber Johnny (2005) are the selected works for analysis of this research. The theoretical references over which this investigation is supported are related to the issues of authorship, post-cinema images and post-human body. Around the authorship discussion this research can be placed on debates proposed by the traditional French journal Cahiers du Cinéma during 1950s and the machine-artist relationship proposed by Vilém Flusser in Towards a Philosophy of Photography. To discuss the music video the selected authors are Arlindo Machado, E. Ann Kaplan and the pop culture experts Andrew Goodwin and Simon Fritch. Besides there are also the theorists Raymond Bellour (1997) who provides a place to the video and Philippe Dubois (2004) who suggests to think of it as a state and not as a product since it´s intimately tied to the device for which it has been designed. The approach to the body theme is based on works from Lucia Santaella, Paula Sibilia and Ieda Tucherman
O trabalho do videomaker Chris Cunningham é o tema principal dessa dissertação. A variedade de produções audiovisuais desse diretor engloba videoinstalações, publicidade e principalmente videoclipes. A escolha desse objeto dá-se por duas razões. A primeira pela contemporaneidade dos temas abordados nos projetos de Cunningham, como a temática dos corpos ciborgue e freak no contexto de discussão do pós-humano. Já a segunda razão é a possibilidade de situar o britânico como autor no campo audiovisual. Os videoclipes All Is Full Of Love (1999) e Rubber Johnny (2005) são as obras selecionadas para estudo analítico nesta pesquisa. As referências teóricas que embasam este trabalho estão ligadas ao tema da autoria, das imagens pós-cinemas e corpo pós-humano. No campo da discussão acerca de autoria, o trabalho situa-se nos debates propostos pelo tradicional periódico francês Cahiers du Cinema na década de 1950 e relação artista-máquina proposta por Vilém Flusser em Filosofia da Caixa Preta. Para se dissertar sobre o videoclipe, os autores selecionados são Arlindo Machado, E. Ann Kaplan e a dupla especialista em cultura pop Andrew Goodwin e Simon Fritch, além do teórico Raymond Bellour (1997), que dá lugar ao vídeo, e Philippe Dubois (2004) que sugere pensá-lo como estado e não como produto, na medida em que está intimamente atrelado ao dispositivo para o qual foi concebido. A abordagem do tema corpo respalda-se em textos das autoras Lúcia Santaella, Paula Sibilia e Ieda Tucherman
APA, Harvard, Vancouver, ISO, and other styles
2

Turková, Hana. "Merce Cunningham a jeho technika." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177744.

Full text
Abstract:
This thesis approaches the personal life, artistic creation and dance technique of American dancer and choreographer Mercier Philip Cunningham. The first part focuses on the artist?s life stages during his evolution in dance from the beginnings of his choreographic work, and seeks the origins for the establishment of his own dance company ? Merce Cunningham Dance Company. A chronological overview of his extensive repertoire is also incorporated. The second part deals with collaboration, connection and interaction among the dance, music, design and film fields during the artistic work of Merce Cunningham. Following the author?s experience with Cunningham technique, the final part is directed to an understanding of this dance technique, its principles and specific elements used in contemporary dance world.
APA, Harvard, Vancouver, ISO, and other styles
3

Struck, Tracy Joy. "A Revision of Family and Domesticity in Michael Cunningham's A Home at the End of the World, Flesh and Blood, and The Hours." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-08272007-134317/.

Full text
Abstract:
Primarily through the experiences of his gay protagonists, Michael Cunningham critiques the heteronormative nuclear family structure of the 1950s and depicts alternatives to it. Drawing on the work of feminist critics who focus on the political intent of American women authors during the nineteenth century, the findings of family historians who examine families of the 1950s, and the work of anthropologist Kath Weston, I argue that Michael Cunningham represents domesticity in ways that promote readers' appreciation of and support for alternative family models.
APA, Harvard, Vancouver, ISO, and other styles
4

Honeycutt, Michael Wade. "William Cunningham : his life, thought, and controversies." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/17555.

Full text
Abstract:
The central thesis of this work is that Cunningham's life and work must be understood in terms of his struggle to defend and promote the principles of the Reformation in response to numerous challenges from Church and State. Cunningham's responses to these challenges are presented in a biographical study, chronologically examining his life, thought and controversies. This biography presents a theological history of his life, incorporating social and political history only where needed for contextual purposes. An examination of letters, pamphlets, contemporary periodicals and newspapers reveals a far 1nore nuanced portrait of William Cunningham than previously acknowledged and one that recognizes to a greater extent the significant contributions of this nineteenth-century minister, Churchman, Professor, and Principal. His was a life of controversy, as he attempted to recover the theology of the Reformers and to advance the mission of evangelicalism. In chapter one, Cunningham, as a student, transitions within the Church of Scotland from Moderatism to Evangelicalism, and wages his first major controversy, fighting to improve the Edinburgh Divinity library. In chapter two, Cunningham, as a minister in Greenock, confronts the Rowites, then challenging the Westminster Confession of Faith. In chapter three, Cunningham battles Scottish Dissenters, Moderates, and the State over the nature of the Church, during the Ten Years' Conflict. In chapter four, Cunningham fights to establish the Free Church of Scotland, but his efforts to strengthen ties with evangelicals throughout Christendom brings opposition from abolitionists, other denominations, and Free Church ministers. In chapter five, Cunningham opposes Roman Catholicism and efforts within his denomination to build additional theological colleges. In chapter six, Cunningham enjoys a respite from controversy, concentrating on New College and contributing articles defending the Reformers and their theology.
APA, Harvard, Vancouver, ISO, and other styles
5

Andrade, Sueli Chaves. "Chris Cunningham: corpo e dejeto no vídeo contemporâneo." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19734.

Full text
Abstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-22T11:43:54Z No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5)
Made available in DSpace on 2017-02-22T11:43:54Z (GMT). No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5) Previous issue date: 2017-02-17
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Chris Cunningham is the main subject in this thesis. Cunningham was one of the most influential and creative music video directors in the 90’s and early 2000’s. Visible throughout his art is the theme of the body and its innards - an important and wide discussion in contemporary culture studies. The hypothesis of this text is that the music video is one of the main audiovisual narratives of postmodern culture from the aspect of new aesthetics and artistic experiments. Cunningham adds original marks to the characteristics that constitute contemporary art, especially the one that has placed the body under interrogation and also the art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella brings a contribution on it as an art support, besides presenting much of the specific problems of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their discussions around film and video allow the insertion of the music video as a language with its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss the body from an instinctive perspective that drives the subject in the contemporary world. In order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic analyses were done on the following works: All is Full of Love (1999), Flex (2000) and Rubber Johnny (2005)
Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)
APA, Harvard, Vancouver, ISO, and other styles
6

Martins, Laís Rodrigues Alves [UNESP]. "Faces do feminino em As Horas, de Michael Cunningham." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154863.

Full text
Abstract:
Submitted by Laís Rodrigues Alves Martins (lamartins3987@gmail.com) on 2018-08-15T15:12:44Z No. of bitstreams: 1 Faces do feminino em As Horas, de Michael Cunningham.pdf: 1134023 bytes, checksum: 1ca459de6b349748e2af9c54cc0b46d1 (MD5)
Approved for entry into archive by Carolina Lourenco null (carolinalourenco@fclar.unesp.br) on 2018-08-15T16:47:13Z (GMT) No. of bitstreams: 1 martins_lra_me_arafcl.pdf: 1134023 bytes, checksum: 1ca459de6b349748e2af9c54cc0b46d1 (MD5)
Made available in DSpace on 2018-08-15T16:47:13Z (GMT). No. of bitstreams: 1 martins_lra_me_arafcl.pdf: 1134023 bytes, checksum: 1ca459de6b349748e2af9c54cc0b46d1 (MD5) Previous issue date: 2018-06-26
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
A arte pós-moderna caracteriza-se, segundo a teórica literária canadense Linda Hutcheon, por promover uma revisita e uma revisão crítica de textos e demais manifestações discursivas do passado, e por transpô-los a novos cenários e lhes conferir renovados vieses e nuances. A narrativa As Horas (The Hours, 1998), de autoria do norte-americano Michael Cunningham (1952 --), pode ser tomada como representante dessa estética, posto que se vale, tanto estrutural quanto tematicamente, de Mrs. Dalloway (1925), um dos romances canônicos do modernismo em língua inglesa, e produção de destaque em meio ao opus literário de Virginia Woolf (1882 – 1941), para sua composição. Intenta-se, no presente trabalho, promover uma análise do livro As Horas, objetivando investigar, sobretudo, como se articulam as representações do feminino na supracitada obra; para tanto, recorre-se a teorias e críticas feministas anglo-americanas e a pressupostos teóricos relativos à ficção pós-moderna. Procura-se salientar, ainda, a emergência do espólio crítico-literário woolfiano — enfatizando, principalmente, sua escrita ensaística e suas concepções feministas — na contemporaneidade.
The postmodern art is characterized, accordingly to the Canadian literary theorist Linda Hutcheon, by the revision and critical evaluation of texts and other discursive manifestations of the past, and by their transposition to new scenarios, in which they gain renewed signification. The narrative The Hours (1998), from the North-American writer Michael Cunningham (1952 --), can be seen as a representative of this aesthetic, since it recalls both structurally and thematically the novel Mrs. Dalloway (1925), one of the seminal works of modernism written in English, and prominent production amid the literary opus of Virginia Woolf (1882 - 1941), for its composition. In the present work, we intend to analyze the book The Hours, aiming to investigate, above all, how the representations of the feminine are articulated in the aforementioned work, and, to this end, we depart from Anglo-American feminist theories, as well as critiques and theoretical discussions about postmodern fiction. It is also intended to highlight the emergence of the Woolfian critical-literary collection — emphasizing, mainly, her essayist production and her feminist conceptions — in contemporaneity.
133881/2016-4
APA, Harvard, Vancouver, ISO, and other styles
7

Martins, Laís Rodrigues Alves. "Faces do feminino em As Horas, de Michael Cunningham /." Araraquara, 2018. http://hdl.handle.net/11449/154863.

Full text
Abstract:
Orientador: Aparecido Donizete Rossi
Banca: Aparecido Donizete Rossi
Banca: Maria Aparecida de Oliveira
Banca: Fernanda Aquino Sylvestre
Resumo: A arte pós-moderna caracteriza-se, segundo a teórica literária canadense Linda Hutcheon, por promover uma revisita e uma revisão crítica de textos e demais manifestações discursivas do passado, e por transpô-los a novos cenários e lhes conferir renovados vieses e nuances. A narrativa As Horas (The Hours, 1998), de autoria do norte-americano Michael Cunningham (1952 --), pode ser tomada como representante dessa estética, posto que se vale, tanto estrutural quanto tematicamente, de Mrs. Dalloway (1925), um dos romances canônicos do modernismo em língua inglesa, e produção de destaque em meio ao opus literário de Virginia Woolf (1882 - 1941), para sua composição. Intenta-se, no presente trabalho, promover uma análise do livro As Horas, objetivando investigar, sobretudo, como se articulam as representações do feminino na supracitada obra; para tanto, recorre-se a teorias e críticas feministas anglo-americanas e a pressupostos teóricos relativos à ficção pós-moderna. Procura-se salientar, ainda, a emergência do espólio crítico-literário woolfiano - enfatizando, principalmente, sua escrita ensaística e suas concepções feministas - na contemporaneidade.
Abstract: The postmodern art is characterized, accordingly to the Canadian literary theorist Linda Hutcheon, by the revision and critical evaluation of texts and other discursive manifestations of the past, and by their transposition to new scenarios, in which they gain renewed signification. The narrative The Hours (1998), from the North-American writer Michael Cunningham (1952 --), can be seen as a representative of this aesthetic, since it recalls both structurally and thematically the novel Mrs. Dalloway (1925), one of the seminal works of modernism written in English, and prominent production amid the literary opus of Virginia Woolf (1882 - 1941), for its composition. In the present work, we intend to analyze the book The Hours, aiming to investigate, above all, how the representations of the feminine are articulated in the aforementioned work, and, to this end, we depart from Anglo-American feminist theories, as well as critiques and theoretical discussions about postmodern fiction. It is also intended to highlight the emergence of the Woolfian critical-literary collection - emphasizing, mainly, her essayist production and her feminist conceptions - in contemporaneity.
Mestre
APA, Harvard, Vancouver, ISO, and other styles
8

LIMA, Fábio Ferreira de. "Sentidos fluidos: uma abordagem semiótica dos videoclipes de Chris Cunningham." Universidade Federal de Goiás, 2006. http://repositorio.bc.ufg.br/tede/handle/tde/2767.

Full text
Abstract:
Made available in DSpace on 2014-07-29T16:27:48Z (GMT). No. of bitstreams: 1 Dissertacao Fabio Fereira de Lima.pdf: 3018079 bytes, checksum: ff52e57d6978369654d719b49a88a710 (MD5) Previous issue date: 2006-05-18
Os vídeos da cultura de massa são importantes meios para a compreensão de um ambiente cultural contemporâneo, capazes de revelarem significados dos costumes e valores sociais. Dentro dos vários gêneros existentes, o videoclipe é um modelo de grande disseminação na sociedade, contendo uma tipologia irregular. A escolha desses formatos prende-se a fatores propriamente relacionados à investigação de fenômenos sígnicos híbridos de grande visibilidade. Encontra-se numa abordagem do objeto inserida no contexto dos processos contemporâneos de produção de imagens visuais e busca-se nesse objeto, a realização de exames, reconhecimentos das suas signagens videográficas. Então, o propósito da presente dissertação é de, através dos discursos sonoro, textual e imagético, procurar identificar traços do fenômeno de natureza sonoro-visual e as suas marcas sígnicas nos segmentos dos videoclipes cuja estruturação semiótica esteja comprometida com o processo de desconstrução videográfica, a partir do contexto de criação do diretor e videasta Chris Cunningham. As análises incluem os seguintes trabalhos: Come to Daddy, para Aphex Twin; Afrika Shox, para Leftfield e All is Full of Love, para Björk. O referencial teórico-metodológico de pesquisa adotado foi o semiótico, estabelecido por pontos de contato entre as categorias sintáticas, semânticas e pragmáticas desenvolvidas por Charles W. Morris, além de conceitos de Charles S. Pierce. Acrescentam-se aí, os métodos analíticos de Siegfried Maser, estudos de Daniel Bougnoux, Rudolf Arnheim, Arlindo Machado, Raymond Bellour, Jacques Aumont e outros, que sustentam a apreciação realizada. Na decomposição analítica foram levantados os elementos constituintes dos videoclipes, descritos em pormenores, operação que remonta as combinações sintáticas das idéias materializadas nesses signos. A partir da sintaxe são alcançados os aspectos semânticos e posteriormente, estende-se o contexto pragmático. Os estudos foram dispostos também em forma de tabela, contendo gráficos e dados mensurativos, servindo para fixar com exatidão referências das algumas discussões teóricas realizadas. É incluído também um exame da metodologia utilizada, a partir desses resultados e elementos identificados, no resgate dos conceitos semióticos de Charles W. Morris. Por fim, são observadas algumas questões da produção de sentidos, dessas associações em vista à obtenção de objetivos específicos, onde essas atividades possam ser recontextualizadas dentro da cultura visual.
APA, Harvard, Vancouver, ISO, and other styles
9

Unrau, Sharon L. "Children's Dance : an exploration through the techniques of Merce Cunningham /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488194825668023.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Damkjær, Camilla. "The aesthetics of movement : variations on Gilles Deleuze and Merce Cunningham /." Stockholm : Dept. of Musicology and Performance Studies, Stockholms universitet : Stiftelsen för utgivning av teatervetenskapliga studier, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015470188&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Cunningham"

1

Gubernatis, Raphaël de. Cunningham. Arles: B. Coutaz, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

India, Archaeological Survey of, ed. Cunningham report. New Delhi: Archaeological Survey of India, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Germano, Celant, Fundació Antoni Tàpies, Fundação de Serralves (Portugal), Castello di Rivoli (Museum : Rivoli, Italy), and Museum Moderner Kunst (Austria), eds. Merce Cunningham. Milano: Charta, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Cunningham, Earl. Earl Cunningham. New York, NY: Berry-Hill, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

James, Klosty, ed. Merce Cunningham. New York: Limelight Editions, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Germano, Celant, ed. Merce Cunningham. Milano: Charta, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Cosgrove, Janet. Cunningham-- Cosgrove. Ocala, Fla. (P.O. Box 6321 Ocala, 32678): J. Cosgrove, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Cunningham, Francis. Francis Cunningham. Milan, Italy: 5 continents, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cunningham, Patrick. Mexico: By Patrick Cunningham ; photographs by Sue Cunningham. Mankato, MN: Cherrytree Books, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Richard, Lorenz, ed. Imogen Cunningham: Portraiture. Boston: Little, Brown and Company, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Cunningham"

1

Osborn, Steven. "Ward Cunningham." In Makers at Work, 177–94. Berkeley, CA: Apress, 2013. http://dx.doi.org/10.1007/978-1-4302-5993-0_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lloyd, Brian B. "Daniel J. C. Cunningham." In Frontiers in Arterial Chemoreception, 39–43. Boston, MA: Springer US, 1996. http://dx.doi.org/10.1007/978-1-4615-5891-0_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kurer, O. "Cunningham, William (1849–1919)." In The New Palgrave Dictionary of Economics, 2536–37. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_504.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Kurer, O. "Cunningham, William (1849–1919)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_504-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kurer, O. "Cunningham, William (1849–1919)." In The New Palgrave Dictionary of Economics, 1–2. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_504-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Mould, Richard F. "Anecdote on Dr Cunningham." In Mould's Medical Anecdotes, 180. New York: Routledge, 2018. http://dx.doi.org/10.1201/9780203746448-102.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Semmel, Bernard. "William Cunningham: National Economist." In Imperialism and Social Reform, 188–201. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003368908-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kontou, Tatiana, Victoria Mills, and Richard Menke. "[H. Cunningham], ‘Horseless Carriages’ [Extract]." In Victorian Material Culture, 114–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-28.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ritzenhoff, Karen A. "A maverick on the streets: Bill Cunningham and the documentary process." In Documenting Fashion, edited by Boel Ulfsdotter and Boel Ulfsdotter, 102–21. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474476164.003.0007.

Full text
Abstract:
This chapter considers the New York fashion photographer Bill Cunningham and his photography work on the streets of the Big Apple. By comparing the two feature documentaries dedicated to the photographer: Richard Press’ Bill Cunningham New York (2010) and Mark Bozek’s documentary The Times of Bill Cunningham (2018), Ritzenhoff examines Cunningham’s self-proclaimed definition of ‘fashion historian’, rather than fashion photographer. By studying the films’ documentary process, including Cunningham’s use of analogue technologies for documentation, Ritzenhoff connects Cunningham with Dziga Vertov’s cinema verité and argues that one of Cunningham’s most enduring legacies is the popularisation of street glamour. This, she argues, foregrounds the democratisation of street fashion blogging and social media posts, so common in the present day.
APA, Harvard, Vancouver, ISO, and other styles
10

"Cunningham Correction." In Encyclopedia of Microfluidics and Nanofluidics, 514. New York, NY: Springer New York, 2015. http://dx.doi.org/10.1007/978-1-4614-5491-5_200025.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Cunningham"

1

Singer, Brooke, and Paul Cunningham. "Brooke Singer, Paul Cunningham." In the 29th International Conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/2931127.2931176.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Frepoli, Cesare, and Katsuhiro Ohkawa. "Void Fraction Predictions in Rod Bundles at Low-Pressure Low-Flow Conditions Based on Cunningham-Yeh Model." In 12th International Conference on Nuclear Engineering. ASMEDC, 2004. http://dx.doi.org/10.1115/icone12-49437.

Full text
Abstract:
Many experiments have been conducted in the past with full-scale rod bundles to develop void fraction correlations or interfacial drag model which can be used to predict the mixture level in a reactor core following a postulated Loss of Coolant Accident (LOCA). The Cunningham and Yeh correlation was originally developed and validated with boil-off data obtained in the 100 to 400 psia pressure range. Subsequently the validity of the correlation was successfully assessed against several other experiments. However most of the data concentrated in the intermediate to high pressure range (from 100 to 2200 psia). More recently, the development of advanced passive plant such as the AP1000, put more emphasis in the level swell behavior in the near-atmospheric pressure conditions. Following a postulated SBLOCA event for the AP1000 design, the reactor vessel is automatically depressurized to a near atmospheric condition and in the long term the core decay heat is removed by gravity driven injection flow while boiling is occurring in the core. In this paper the Cunningham-Yeh correlation was assessed against data beyond its original data base. Cunningham-Yeh model predictions were compared to several low-flow, low-pressure full-scale rod bundle experiments. Results show that the correlation performs relatively well against low pressure test data. However the Cunningham-Yeh model has the tendency to underpredict the void fraction and therefore to provide conservative results of level swell for plant safety analysis.
APA, Harvard, Vancouver, ISO, and other styles
3

Farnsworth, J., and P. Slaven. "Application of the Community-Based Watershed Management Planning Process to Preserve Cunningham Lake." In World Environmental and Water Resources Congress 2006. Reston, VA: American Society of Civil Engineers, 2006. http://dx.doi.org/10.1061/40856(200)452.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"Modelling the dynamics of fire whirls." In 25th International Congress on Modelling and Simulation. Modelling and Simulation Society of Australia and New Zealand, 2023. http://dx.doi.org/10.36334/modsim.2023.cunningham.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hasan, Md Mahadi, and Muhammad Usama Islam. "JCVirusNEntamoebaNET (JCENET): A Deep Neural Network for John Cunningham Virus and Entamoeba Parasite Detection." In 2021 International Conference on Information and Communication Technology for Sustainable Development (ICICT4SD). IEEE, 2021. http://dx.doi.org/10.1109/icict4sd50815.2021.9396771.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Abouali, Omid, and Goodarz Ahmadi. "Numerical Modeling of Upstream Nozzle Effect in Supersonic/Hypersonic Impactors for Nano-Particles." In ASME 2005 Fluids Engineering Division Summer Meeting. ASMEDC, 2005. http://dx.doi.org/10.1115/fedsm2005-77433.

Full text
Abstract:
In this study the performance of supersonic and hypersonic impactors under various operating conditions was analyzed using a computer simulation model. The study was focused on the effect of the nozzle upstream condition on the performance of the supersonic and hypersonic impactors. In our earlier work, the computational domain covered downstream of the nozzle with a sonic boundary condition at the inlet. In the present study, the computational domain included the upstream nozzle where the flow and particles enter with at low velocities. Axisymmetric forms of the compressible Navier-Stokes and energy equations were solved and the gas flow and thermal condition in the impactor were for evaluated. A Lagrangian particle trajectory analysis procedure was used and the deposition rates of different size particles under various operating conditions were studied. For dilute particle concentrations, one-way interaction was assumed and the effect of particles on gas flow field was ignored. The importance of drag and Brownian forces on particle motions in supersonic/hypersonic impactors was analyzed. Sensitivity of the simulation results to the use of different expressions for the drag force was also examined. It was shown that when the upstream nozzle is included in the computational model, the Stokes-Cunningham drag with variable correction coefficient and a constant Cunningham correction factor based on stagnation point properties lead to the same results. Thus these drag laws are most suitable for computer simulation studies of nano-particles in supersonic/hypersonic impactors. The computer simulation results were shown to compare favorably with the experimental data.
APA, Harvard, Vancouver, ISO, and other styles
7

"Provenance narratives and visualisation to support understanding and trust." In 23rd International Congress on Modelling and Simulation (MODSIM2019). Modelling and Simulation Society of Australia and New Zealand, 2019. http://dx.doi.org/10.36334/modsim.2019.d1.cunningham.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Santiago, Igor Bessa, Ivna Lacerda Pereira Nobrega, Lucas Silvestre Mendes, Gabriela Joca Martins, Jose Artur Costa D'Almeida, and Milena Sales Pitombeira. "Low seropositive John Cunningham virus (JCV) profile in a Northeast Brazilian Natalizumab MS treated population: differences comparing with global data." In PROCEEDINGS OF THE BCTRIMS 24TH ANNUAL MEETING. Galoa, 2023. http://dx.doi.org/10.17648/bctrims-2023-167471.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Abouali, Omid, and Goodarz Ahmadi. "Bow Shock Effect on Particle Transport and Deposition in a Hypersonic Impactor." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45072.

Full text
Abstract:
Supersonic/hypersonic impactors are used as a collector and/or size separator of nano- and micro-particles. Thin film and fine line pattern deposition by aerosol jets are other applications of deposition of supersonic/hypersonic impactors. At extremely low backpressures, the exiting flow from a nozzle forms a supersonic free jet. The supersonic jet forms a strong normal shock in the front of the impactor plate. The stagnation pressure, backpressure and distance between the nozzle exit and the impactor plate affect the flow field. Due to the rather complicated flow in the impactor, studies of particle motions in supersonic impactors are rather scarce. In this study the airflow and particle transport and deposition in a supersonic/hypersonic impactor are numerically simulated. The axisymmetric compressible Navier-Stokes equation is solved and the flow properties are evaluated. It is assumed that the particle concentration is dilute, to the extent that the presence of particles does not alter the flow field. Deposition of different size particles under different operating conditions is studied. The importance of drag, lift and Brownian forces on particle motions in supersonic impactors is discussed. Sensitivity of the simulation results to the use of different expressions for the drag force is also examined. A strong bow shock on the flowfield has much effect in drag forces on particles. It is shown that the Stokes-Cunningham drag with variable correction coefficient is most suitable for computer simulation studies of nano-particles in supersonic/hypersonic impactors. The computer simulation results are shown to compare favorably with the experimental data.
APA, Harvard, Vancouver, ISO, and other styles
10

Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

Full text
Abstract:
“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Cunningham"

1

Plouffe, A. Surficial geology, Cunningham Lake, British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/207486.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Najafi, Farzaneh, Gamaleldin F. Elsayed, Robin Cao, Eftychios Pnevmatikakis, Peter E. Latham, John P. Cunningham, and Anne K. Churchland. Dataset from "Farzaneh Najafi, Gamaleldin F Elsayed, Robin Cao, Eftychios Pnevmatikakis, Peter E. Latham, John P Cunningham, Anne K Churchland (bioRxiv, 2018); Excitatory and inhibitory subnetworks are equally selective during decision-making and emerge simultaneously during learning.”. Cold Spring Harbor Laboratory, February 2019. http://dx.doi.org/10.14224/1.37693.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Cunningham' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography