Relevant bibliographies by topics / Fiona Hall

Academic literature on the topic 'Fiona Hall'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Fiona Hall"

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Bastin-Hammou, Malika. "Edith Hall et Fiona Macintosh,." Anabases, no. 7 (March 1, 2008): 279–81. http://dx.doi.org/10.4000/anabases.2553.

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Tsai, Jaime. "Equivocal Taxonomies: Fiona Hall and the Logic of Display." Australian and New Zealand Journal of Art 16, no. 1 (January 2, 2016): 55–70. http://dx.doi.org/10.1080/14434318.2016.1172549.

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3

Walsh, Keri. "edith hall and fiona macintosh. Greek Tragedy and the British Theatre 1660–1914. Pp. xxiv + 724. New York, NY and Oxford: Oxford University Press, 2005. Cloth, £60.00." Review of English Studies 57, no. 230 (June 1, 2006): 404–6. http://dx.doi.org/10.1093/res/hgl050.

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Cairns, Douglas. "Medea in Performance, 1500–2000. Edited by Edith Hall, Fiona Macintosh and Oliver Taplin. Oxford: Legenda/European Humanities Research Centre, 2000. Pp. xvi + 304 + illus. £27.50/$49.50 Pb." Theatre Research International 27, no. 1 (February 14, 2002): 97–119. http://dx.doi.org/10.1017/s0307883302211098.

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5

Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Rosslyn, Felicity. "Dionysus Since 69. Greek Tragedy at the Dawn of the Third Millennium, edited by Edith Hall, Fiona Macintosh, and Amanda Wrigley; Radical Theatre: Greek Tragedy and the Modern World, by Rush Rehm; Thebans. Oedipus. Jokasta. Antigone, by Liz Lochhead; The Burial at Thebes: Sophocles' Antigone, by Seamus Heaney." Translation and Literature 14, no. 1 (March 2005): 86–90. http://dx.doi.org/10.3366/tal.2005.14.1.86.

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Tearle, Barbara. "The First Decade: the 1970s." Legal Information Management 19, no. 02 (June 2019): 102–3. http://dx.doi.org/10.1017/s1472669619000239.

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AbstractIn this combined article, five authors provide a brief summary of the activities of the British and Irish Association of Law Librarians (BIALL) and the developments in law librarianship over the past 50 years, each writing about a different decade. Barbara Tearle (writing about the 1970s), Christine Miskin (the 1980s), Michael Maher (1990s), Fiona Fogden (2000s) and Narinder Toor (2010s) each bring their own experiences and memories to their writing and complete a half century of reflections to coincide with BIALL's 50th anniversary in 2019.
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Rogers, John. "Milton and the Manuscript ofDe Doctrina Christiana- By Gordon Campbell, Thomas N. Corns, John K. Hale, and Fiona J. Tweedie." Milton Quarterly 44, no. 1 (March 2010): 63–66. http://dx.doi.org/10.1111/j.1094-348x.2010.00236.x.

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Sullivan, E. W. "GORDON CAMPBELL, THOMAS N. CORNS, JOHN K. HALE, and FIONA J. TWEEDIE. Milton and the Manuscript of De Doctrina Christiana." Review of English Studies 60, no. 243 (August 2, 2008): 153–54. http://dx.doi.org/10.1093/res/hgn134.

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Kuhnova, S. "GORDON CAMPBELL, THOMAS N. CORNS, JOHN K. HALE, and FIONA J. TWEEDIE. Milton and the Manuscript of De Doctrina Christiana." Notes and Queries 56, no. 3 (September 1, 2009): 459–60. http://dx.doi.org/10.1093/notesj/gjp116.

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Dissertations / Theses on the topic "Fiona Hall"

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Astore, Mireille. "The Maternal Abject." University of Sydney. Sydney College of the Arts, 2002. http://hdl.handle.net/2123/500.

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Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.
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2

Werner, Kim Fiona [Verfasser]. "Halo bias renormalisation / Kim Fiona Werner." Bonn : Universitäts- und Landesbibliothek Bonn, 2020. http://d-nb.info/1218301570/34.

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Schedel, Fiona [Verfasser]. "Inhibition des mammalian target of Rapamycin (mTOR) als mögliches Therapiekonzept des Urothelkarzinoms der Harnblase und der Plattenenpithelkarzinome des Kopf-Hals-Bereiches / Fiona Schedel." Lübeck : Zentrale Hochschulbibliothek Lübeck, 2013. http://d-nb.info/103640059X/34.

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Books on the topic "Fiona Hall"

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Ewington, Julie. Fiona Hall. Annandale, Australia: Piper Press, 2005.

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1970-, Webb Vivienne, Savage Paula, Macgregor Elizabeth A, O'Brien Gregory 1961-, Museum of Contemporary Art (Sydney, N.S.W.), City Gallery Wellington, and Christchurch Art Gallery, eds. Fiona Hall: Force field. Sydney: Museum of Contemporary Art, 2007.

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Stanley, Fiona J. The greatest injustice: Why we have failed to improve the health of Aboriginal people : 11 th Annual Hawke Lecture delivered by Professor Fiona Stanley AC on Thursday 6 November 2008, Adelaide Town Hall, Adelaide. Adelaide: Bob Hawke Prime Ministerial Centre, 2009.

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4

Fearless Fiona and the Mothproof Hall Mystery: And the Mothproof Hall Mystery. Catnip Publishing, 2007.

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5

Giles, Paul. The Planetary Clock. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.001.0001.

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The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into dialogue with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall) and cinema (Rohmer, Haneke, Tarantino), The Planetary Clock enlarges our understanding of global postmodernism for the twenty-first century.
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Hegland, Frode, ed. The Future of Text. Future Text Publishing, 2020. http://dx.doi.org/10.48197/fot2020a.

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This book is the first anthology of perspectives on the future of text, one of our most important mediums for thinking and communicating, with a Foreword by the co-inventor of the Internet, Vint. Cerf and a Postscript by the founder of the modern Library of Alexandria, Ismail Serageldin. In a time with astounding developments in computer special effects in movies and the emergence of powerful AI, text has developed little beyond spellcheck and blue links. In this work we look at myriads of perspectives to inspire a rich future of text through contributions from academia, the arts, business and technology. We hope you will be as inspired as we are as to the potential power of text truly unleashed. Contributions by Adam Cheyer • Adam Kampff • Alan Kay • Alessio Antonini • Alex Holcombe • Amaranth Borsuk • Amira Hanafi • Amos Paul Kennedy Jr. • Anastasia Salter • Andy Matuschak & Michael Nielsen • Ann Bessemans & María Pérez Mena • Andries Van Dam • Anne-Laure Le Cunff • Anthon Botha • Azlen Ezla • Barbara Beeton • Belinda Barnet • Ben Shneiderman • Bernard Vatant • Bob Frankston • Bob Horn • Bob Stein • Catherine C. Marshall • Charles Bernstein • Chris Gebhardt • Chris Messina • Christian Bök • Christopher Gutteridge • Claus Atzenbeck • Daniel Russel • Danila Medvedev • Danny Snelson • Daveed Benjamin • Dave King • Dave Winer • David De Roure • David Jablonowski • David Johnson • David Lebow • David M. Durant • David Millard • David Owen Norris • David Price • David Weinberger • Dene Grigar • Denise Schmandt-Besserat • Derek Beaulieu • Doc Searls • Don Norman • Douglas Crockford • Duke Crawford • Ed Leahy • Elaine Treharne • Élika Ortega • Esther Dyson • Esther Wojcicki • Ewan Clayton • Fiona Ross • Fred Benenson & Tyler Shoemaker • Galfromdownunder, aka Lynette Chiang • Garrett Stewart • Gyuri Lajos • Harold Thimbleby • Howard Oakley • Howard Rheingold • Ian Cooke • Iian Neil • Jack Park • Jakob Voß • James Baker • James O’Sullivan • Jamie Blustein • Jane Yellowlees Douglas • Jay David Bolter • Jeremy Helm • Jesse Grosjean • Jessica Rubart • Joe Corneli • Joel Swanson • Johanna Drucker • Johannah Rodgers • John Armstrong • John Cayle • John-Paul Davidson • Joris J. van Zundert • Judy Malloy • Kari Kraus & Matthew Kirschenbaum • Katie Baynes • Keith Houston • Keith Martin • Kenny Hemphill • Ken Perlin • Leigh Nash • Leslie Carr • Lesia Tkacz • Leslie Lamport • Livia Polanyi • Lori Emerson • Luc Beaudoin & Daniel Jomphe • Lynette Chiang • Manuela González • Marc-Antoine Parent • Marc Canter • Mark Anderson • Mark Baker • Mark Bernstein • Martin Kemp • Martin Tiefenthaler • Maryanne Wolf • Matt Mullenweg • Michael Joyce • Mike Zender • Naomi S. Baron • Nasser Hussain • Neil Jefferies • Niels Ole Finnemann • Nick Montfort • Panda Mery • Patrick Lichty • Paul Smart • Peter Cho • Peter Flynn • Peter Jenson & Melissa Morocco • Peter J. Wasilko • Phil Gooch • Pip Willcox • Rafael Nepô • Raine Revere • Richard A. Carter • Richard Price • Richard Saul Wurman • Rollo Carpenter • Sage Jenson & Kit Kuksenok • Shane Gibson • Simon J. Buckingham Shum • Sam Brooker • Sarah Walton • Scott Rettberg • Sofie Beier • Sonja Knecht • Stephan Kreutzer • Stephanie Strickland • Stephen Lekson • Stevan Harnad • Steve Newcomb • Stuart Moulthrop • Ted Nelson • Teodora Petkova • Tiago Forte • Timothy Donaldson • Tim Ingold • Timur Schukin & Irina Antonova • Todd A. Carpenter • Tom Butler-Bowdon • Tom Standage • Tor Nørretranders • Valentina Moressa • Ward Cunningham • Dame Wendy Hall • Zuzana Husárová. Student Competition Winner Niko A. Grupen, and competition runner ups Catherine Brislane, Corrie Kim, Mesut Yilmaz, Elizabeth Train-Brown, Thomas John Moore, Zakaria Aden, Yahye Aden, Ibrahim Yahie, Arushi Jain, Shuby Deshpande, Aishwarya Mudaliar, Finbarr Condon-English, Charlotte Gray, Aditeya Das, Wesley Finck, Jordan Morrison, Duncan Reid, Emma Brodey, Gage Nott, Aditeya Das and Kamil Przespolewski. Edited by Frode Hegland.
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Book chapters on the topic "Fiona Hall"

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Machelidon, Véronique, and Patrick Saveau. "Introduction." In Reimagining North African immigration, 1–16. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719099489.003.0001.

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Retracing and resisting the long and controversial use of the terms “beur” and “post-beur” first coined by literary critics of immigration literature and cinema, this preface affirms the central place of a new generation of authors with roots in North Africa, who use French as their language of choice in film, television, or literature in order to break the chains of ideological, literary, memorial, spatial, gender, sexual and ethnic constraints. These new writers and filmmakers stage identity in flux, undermine the ideological division of cultural space, engage in postmemorial work, and collapse clichés and stereotypes. The preface continues to define the orientation of the whole volume, which does not seek to examine literature in contrast with film or television, but instead emphasizes the common strategies and themes that bridge the generic divide and define the joint cultural corpus dedicated to the issues of immigration to France and of post-colonial heritage. The preface further outlines the theoretical perspectives used in the essays and pays tribute to the works of Fiona Barclay, Stuart Hall, Alec Hargreaves, Will Higbee, Marianne Hirsch, Benjamin Stora, Carrie Tarr, and others.
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O'Brien, James. "Conclusion." In The Scientific Sherlock Holmes. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199794966.003.0013.

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Sherlock Holmes and Professor Moriarty plunged over the Reichenbach Falls in The Final Problem (FINA), the twenty-sixth story. What we read about the post-Reichenbach Holmes is that he had “never been the same man afterwards” (Stashower 1999, 443). Actually the very first story written after Holmes and Moriarty went over the falls was The Hound of the Baskervilles (HOUN). It is the most famous Holmes tale, and it is always rated as the very best one too. The next three stories, The Empty House (EMPT), The Norwood Builder (NORW), and The Dancing Men (DANC) are all rated fairly well. So Conan Doyle gets to the halfway point quite strongly (DANC is the thirtieth story). But soon the quality drops off. The fifty-six Holmes short stories have been rated several times (Bigelow 1993, 130–138). It is revealing to compare the first thirty stories with the last thirty. Here are the results from the 1959 ratings done by readers of The Baker Street Journal. Eight of the ten stories on the “best” list are from the first half of the Canon. Only two later stories make the list. The “worst” list is just the reverse. Nine of the ten stories are from the second half; eight of the tales on the worst list are from the last twelve stories that Conan Doyle wrote, between 1921 and 1927. Even Conan Doyle himself agreed with this. In 1927, he listed his twelve favorite short stories and later added his next seven. Conan Doyle’s list has fifteen early stories and four late ones. . . . Arthur Conan Doyle’s Favorite Holmes Short Stories SPEC (10), REDH (4), DANC (30), FINA (26), SCAN (3), EMPT (28), FIVE (7), SECO (40), DEVI (43), PRIO (32), MUSG (20), REIG (21), SILV (15), BRUC (42), CROO (22), TWIS (8), GREE (24), RESI (23), NAVA (25) . . . When the four long stories are included, not much changes. Generally HOUN displaces The Speckled Band (SPEC) as number one. But the later stories still fare poorly. One of the second-half tales that is always rated high is The Bruce Partington Plans (BRUC).
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Conference papers on the topic "Fiona Hall"

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Soares Junior, Antônio Luiz da Costa, Carolina Del Negro Visintin, Bruno Goia de Araújo Rossi, and Stephanie Aragão Lusoli Vicensotti. "Relato de caso: a importância da imuno-histoquímica em tumores sólido-císticos versus triplo-negativos." In 44° Congresso da SGORJ - XXIII Trocando Ideias. Zeppelini Editorial e Comunicação, 2020. http://dx.doi.org/10.5327/jbg-0368-1416-2020130235.

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Introdução: O câncer (CA) de mama é o tumor sólido mais comum entre as mulheres. O tumor de mama triplo-negativo (TNBC) não possui receptor de estrogênio (RE), progesterona (RP) e fator de crescimento epidérmico humano 2 (HER2), e representa de 15 a 20% de todos os CA de mama. O TNBC costuma ser agressivo e de mau prognóstico pelo seu risco de recorrência à distância nos dois primeiros anos após o diagnóstico e pela rápida progressão após a recidiva. Objetivo: Afirmar a importância da imuno-histoquímica (IMQ) aos tumores sólidos-císticos para tratamento e prognóstico mais eficientes. Material e Métodos: Coleta de dados e análise de prontuário de paciente acompanhada em um ambulatório de Mastologia. Resultados: Paciente branca, 37 anos, G3P3C3, histórico de CA mama em tia materna, nódulo palpável há 6 meses em mama esquerda (E) de crescimento progressivo, acelerado, doloroso à palpação. Ao exame físico: mama direita normal e mama E com nódulo de 17 × 21 cm. Em ultrassom (US), cisto septado com vascularização (BIRADS 4a); e em punção aspirativa por agulha fina (PAAF), resultado de parênquima mamário com microcistos. Evoluiu com sinais flogísticos em mama E, sendo precisas duas drenagens com saída de até 280 mL de líquido serosanguinolento. Marcada nodulectomia, com resultado de carcinoma ductal invasivo GH3, margens livres e negativo para RE, RP e HER2. Estadiamento com linfonodomegalia axilar E. Iniciou quimioterapia (QT) e aguarda teste genético. Se negativo, esvaziamento axilar (EA). Se positivo, mastectomia bilateral com EA à E e ooforectomia aos 40 anos. O CA de mama é subdividido em luminal A, luminal B, superexpressão de HER2 e TNBC. Possuem evolução clínica diferente e, somados às características clínico-patológicas, definirão o tratamento. HER2 e TNBC têm padrão patológico mais desfavorável e com menos sobrevida em comparação aos outros. TNBC à mamografia geralmente tem formas arredondadas e ovais. Ao US, tem lesões não paralelas à pele, com halo hipoecogênico bem marcado e com reforço posterior. Estudos mostram que mulheres afro-americanas, em pré-menopausa, a alta paridade e o curto período de amamentação aumentam o risco ao TNBC. Disseminação com maior afinidade por metástases cerebrais e pulmonares e menor para ossos. Na ocorrência, biópsia para avaliação hormonal. O alto número de infiltrado tumoral propicia ao TNBC marcador preditivo de respostas para imunoterapia e sobrevida com a QT. QT neoadjuvante beneficia a diminuição do tumor antes da cirurgia. É indefinido o tratamento para o TNBC avançado. Radiação pode aumentar a ação da imunoterapia por aumentar a carga mutacional dos tumores, acelerar a apresentação do antígeno e age diminuindo imunossupressores no ambiente tumoral. A remissão completa da patologia deve-se, em geral, ao uso de QT com taxano e sais de platina à antracilina. Conclusão: O TNBC deve ser tratado assim que diagnosticado. Atenção à radiologia e à IMQ, essa que não é realizada em todos os serviços, para um prognóstico menos incerto ao paciente. O TNBC carece de maiores estudos para a imunoterapia.
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