Journal articles: 'Littlewood, joan'

1

Taylor, Millie. "Miss Littlewood and me: Performing ethnography." Studies in Musical Theatre 14, no. 1 (April 1, 2020): 65–76. http://dx.doi.org/10.1386/smt_00019_1.

Full text

Abstract:

Joan Littlewood (1914‐2002) was a pioneer of theatre directing in the United Kingdom, most famous for her production of Oh What a Lovely War!. This article performs an ethnographic study of Miss Littlewood, a 2018 musical by Sam Kenyon, which documents Littlewood’s life and work using the style of the earlier show. Miss Littlewood’s plot reveals details of Littlewood’s life and work, while its form mirrors the montage techniques that she pioneered in Britain. The article uses interviews and rehearsal observations to document aspects of the process by which Miss Littlewood was developed. It reflects on the tensions that are revealed between that relatively luxurious process and Littlewood’s political and financial realities. Ethnography was an ideal method for documenting this process because it facilitated observation of relationships between the various works and demonstrated the fluidity and creativity of academic writing.

APA, Harvard, Vancouver, ISO, and other styles

2

Paget, Derek. "Theatre Workshop, Moussinac, and the European Connection." New Theatre Quarterly 11, no. 43 (August 1995): 211–24. http://dx.doi.org/10.1017/s0266464x0000909x.

Full text

Abstract:

This article investigates the influence of a French communist writer on Joan Littlewood's Theatre Workshop. Joan Littlewood celebrated her eightieth birthday in 1994 – a year which also saw an ‘Arena’ programme about her life and the publication of her memoirJoan's Book. Critics and commentators are agreed that Littlewood was a charismatic director, her Theatre Workshop a ground-breaking company which in the late 1950s and early 1960s acquired an international reputation only matched later by the RSC. However, the company's distinctive style drew as much from a European as from a native English theatre tradition, and in this article Derek Paget examines the contribution to that style of a seminal work on design – Léon Moussinac'sThe New Movement in the Theatreof 1931. Although he was also important as a theorist of the emerging cinema, Moussinac's chief influence was as a transmitter of ideas in the theatre, and in the following article Derek Paget argues that his book offered the Manchester-based group insights into European radical left theatre unavailable to them in any other way. Moussinac thus helped Theatre Workshop to become a ‘Trojan horse’ for radical theatricality in the post-war years, while his design ideas were to sustain the Workshop throughout its period of major creativity and influence. Derek Paget worked in the early 1970s on Joan Littlewood's last productions at Stratford East, and he wrote onOh What a Lovely Warin NTQ 23 (1990). He is now Reader in Drama at Worcester College of Higher Education.

APA, Harvard, Vancouver, ISO, and other styles

3

Zarhy-Levo, Yael. "Joan Littlewood and Her Peculiar (Hi)story as Others Tell It." Theatre Survey 42, no. 2 (November 2001): 165–76. http://dx.doi.org/10.1017/s0040557401000084.

Full text

Abstract:

The theatrical map in London during the 1960s consisted of four notable theatrical companies: the English Stage Company, the Royal Shakespeare Company, the National Theatre Company, and the Theatre Workshop. The first three companies, although somewhat transformed, fill major roles in British theatre to the present day. What happened to the fourth company, the Theatre Workshop? This question is all the more intriguing in light of the tribute current historical and critical accounts pay to the founder-director of this company, Joan Littlewood. Theatre critics and historians today view Littlewood as a major representative of radical theatre in the 1960s. Littlewood's position during her era, however, was quite a different story, and the tale of then versus the tale of now is a primer in theatre historiography. I will trace that tale in this essay by juxtaposing the diverse receptions she and her works have received during the past forty years.

APA, Harvard, Vancouver, ISO, and other styles

4

MUREȘAN, Răzvan. "”Theatre should be free, like air or love”. Joan Littlewood and the imperative of collective creation." Theatrical Colloquia 12, no. 2 (December 1, 2022): 37–52. http://dx.doi.org/10.35218/tco.2022.12.2.05.

Full text

Abstract:

This paper aims to investigate the theatrical practices that define the work of one of the most influential voices in 20th century theatre. The practices and methods developed by Joan Littlewood over four decades of work outline a highly personal, inventive and dynamic aesthetic in which the emphasis is on creating cohesion within the team. The team is seen as a ”composite mind”, an ensemble that through rigorous physical and vocal training, complex theme documentation and improvisation, comes to function organically and is able to explore more freely and intensely. The use of a wide variety of means and formulas - music hall, commedia dell'arte, clowning, mime, but also elaborate lighting, cinematic projections, sound effects - and the involvement of the audience in the scenic approach are also defining elements of the theatre promoted by Joan Littlewood.

APA, Harvard, Vancouver, ISO, and other styles

5

Favre, June. "Did Clive Barker Write The Hostage?" New Theatre Quarterly 23, no. 4 (November 2007): 326–30. http://dx.doi.org/10.1017/s0266464x07000243.

Full text

Abstract:

Clive Barker often wrote about Joan Littlewood and his time at Theatre Workshop with a mixture of warmth and bewilderment at her unorthodox methods. While preparing her doctoral thesis, Text and Collaboration: an Examination of the Roles of Joan Littlewood and Theatre Workshop in the Genesis and Production of Brendan Behan's ‘The Hostage’, at the National University of Ireland, Galway, June Favre wrote to Clive praising the article ‘Closing Joan's Book: Some Personal Footnotes’ (NTQ, May 2003). As a result of that first letter, Clive and June began a correspondence – exchanging questions, notes, published and unpublished material, with a final email to June dated 4 March 2005, less than two weeks before his death on 17 March. Clive had accepted the position of external examiner for the thesis with the viva voce to take place 10 May 2005 in Galway – a city Clive had never visited. An email sent on 21 February 2005 informed June that Clive was looking forward to ‘seeing the sun go down on Galway Bay’. His sudden death deprived him of that pleasure. Concluding the ‘Acknowledgments’ of the thesis, June wrote: ‘Above all my heartfelt gratitude for the dozens of emails, letters, and articles Clive Barker shared with me. He promptly supplied information on Joan Littlewood and the productions of Brendan Behan plays from first-hand experience.’ There follow some of the informative and humorous exchanges between Clive and June, who was awarded her doctoral degree later in 2005.

APA, Harvard, Vancouver, ISO, and other styles

6

허순자. "Joan Littlewood and the Theatre Workshop's Theatre Practice." Journal of korean theatre studies association 1, no. 64 (November 2017): 127–68. http://dx.doi.org/10.18396/ktsa.2017.1.64.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (November 2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

Full text

Abstract:

In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.

APA, Harvard, Vancouver, ISO, and other styles

8

Nicholson, Steve. "Joan's Book: Joan Littlewood's Peculiar History As She Tells It. By Joan Littlewood, London: Methuen, 1994. Pp. xx + 796. £20." Theatre Research International 20, no. 1 (1995): 65. http://dx.doi.org/10.1017/s0307883300007185.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gottlieb, Vera. "Joan Littlewood Joan's Book: Joan Littlewood's Peculiar History As She Tells ItLondon: Methuen, 1994. 796 p. £20 (hbk). ISBN 0-413-640770-1." New Theatre Quarterly 11, no. 42 (May 1995): 197. http://dx.doi.org/10.1017/s0266464x00001287.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Holden Reid, Brian. "From Liddell Hart to Joan Littlewood: Studies in British Military History." RUSI Journal 162, no. 1 (January 2, 2017): 88–89. http://dx.doi.org/10.1080/03071847.2017.1301656.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Edwards, Gwynne. "Theatre Workshop's Translations of Three Spanish Plays." New Theatre Quarterly 25, no. 1 (February 2009): 52–62. http://dx.doi.org/10.1017/s0266464x09000050.

Full text

Abstract:

In 1936 Joan Littlewood staged Lope de Vega's seventeenth-century play, Fuente Ovejuna (The Sheep Well); in 1945 Lorca's The Love of Don Perlimplín for Belisa in His Garden; and in 1958 Fernando de Rojas's sixteenth-century La Celestina. There were also plans to produce Lorca's Blood Wedding in 1948. The English versions of Fuente Ovejuna, Don Perlimplín, and Blood Wedding have been preserved in the Theatre Workshop archive at Littlewood's former base, the Theatre Royal, Stratford East, and in the following article Gwynne Edwards compares these translations with the original Spanish plays, considers the changes which were introduced in the process of adaptation, and assesses the merits of each. Gwynne Edwards is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca, as well as translations of seventeenth-century Spanish and modern Latin American plays, have been published by Methuen, and many have been given professional productions. He has recently completed the libretto of an opera on the last days of Dylan Thomas.

APA, Harvard, Vancouver, ISO, and other styles

12

Holdsworth, Nadine. "Spaces to play/playing with spaces: young people, citizenship and Joan Littlewood." Research in Drama Education: The Journal of Applied Theatre and Performance 12, no. 3 (November 2007): 293–304. http://dx.doi.org/10.1080/13569780701560164.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Rufford, Juliet. "‘What Have We Got to Do with Fun?’: Littlewood, Price, and the Policy Makers." New Theatre Quarterly 27, no. 4 (November 2011): 313–28. http://dx.doi.org/10.1017/s0266464x11000649.

Full text

Abstract:

Joan Littlewood blamed anti-socialist prejudice for Theatre Workshop's hostile treatment by the Arts Council. Yet her failure to secure the Council's backing for the Fun Palace – an open-ended project for an arts, entertainment, and education centre she developed with architect Cedric Price – may be better expressed as a collision between anarchy and bureaucracy. Following Nadine Holdsworth's 1997 article for New Theatre Quarterly, ‘“They'd Have Pissed on My Grave”: the Arts Council and Theatre Workshop’, in this article Juliet Rufford argues that the project fell victim to a form of programme censorship because it broke the rules of culture and professionalism as defined by the major funding body for the arts. The concept of ‘fun’ is seen as vital to understanding the cynicism of the policy makers towards Price and Littlewood's proposals, but also as driving explorations of intermediality, interactive performance, and performative architecture that have since been taken up successfully by artists working within and beyond the subsidized sector. Juliet Rufford is a post-doctoral research associate at the Victoria and Albert Museum, and is co-convenor of the International Federation of Theatre Research's Theatre Architecture Working Group. She has written on theatre architecture, site-specific performance, scenography, and the politics of space for publications including Contemporary Theatre Review and the Journal of Architectural Education.

APA, Harvard, Vancouver, ISO, and other styles

14

Barker, Clive. "Closing Joan's Book: Some Personal Footnotes." New Theatre Quarterly 19, no. 2 (May 2003): 99–107. http://dx.doi.org/10.1017/s0266464x03000022.

Full text

Abstract:

For many, the death of Joan Littlewood on 20 September 2002 at the age of 87 marked the end of a theatrical era – though in practice she had lived an increasingly reclusive life following her move to France and the death of her partner Gerry Raffles in 1975, interrupted only in 1994 by the publication of an autobiography, Joan's Book. Clive Barker, Co-Editor of NTQ, became a member of Littlewood's Theatre Workshop company in 1955, shortly after the change from a touring policy to a building-based company at the Theatre Royal, Stratford, had led to the departure of Ewan MacColl and others of the original group, and subsequently to the displacement of other members as critical success led to West End transfers. What follows is not a dutiful obituary but a highly personal memoir of the years that followed, and provides an ironic contrast between Joan's own published recollections and the experience of one of her ‘slags’ – liable to be called on to do anything and everything. Joan's own recollection of Clive Barker was that ‘You could only do three things. Catatonics, menace, and I forget what the third was.’ Here, with fearful glances over his shoulder for an apparition at the window, Clive Barker reminds her, and adds a few other corrigenda to Joan's Book.

APA, Harvard, Vancouver, ISO, and other styles

15

Edwards, Gwynne. "Gwyn Thomas's Sap and Theatre Workshop's Oh What a Lovely War." New Theatre Quarterly 27, no. 3 (August 2011): 272–82. http://dx.doi.org/10.1017/s0266464x11000467.

Full text

Abstract:

In the autumn of 1962 Gwyn Thomas, author of The Keep and Jackie the Jumper, two plays already staged at the Royal Court, delivered to the Theatre Royal, Stratford East, his script of Sap, a play with songs about the First World War. In March 1963, Joan Littlewood premiered at the Theatre Royal Oh What a Lovely War. Subsequently, Thomas felt that his ideas and research had been stolen, and because of the success of Oh What a Lovely War, Sap was not staged for another eleven years. In this article Gwynne Edwards discusses the circumstances surrounding these events and outlines the similarities and differences between the two plays. Gwynne Edwards has written extensively on Spanish theatre, in particular on the plays of Lorca, which he has also translated. More recently he has written plays based on the lives and work of Dylan Thomas, Gwyn Thomas, and Richard Burton. Burton was staged in Hollywood in 2010.

APA, Harvard, Vancouver, ISO, and other styles

16

Burt, Philippa. "The Merry Wives of Moscow: Komisarjevsky, Shakespeare, and Russophobia in the British Theatre." New Theatre Quarterly 32, no. 4 (October 14, 2016): 375–90. http://dx.doi.org/10.1017/s0266464x16000440.

Full text

Abstract:

Theodore Komisarjevsky was a prominent figure in the inter-war British theatre until his migration to North America in 1936. While recent studies have foregrounded the various artistic factors that influenced his work and his eventual departure, little attention has been placed on the sociopolitical issues. Most notably, there has been no serious consideration of the impact that his nationality had on the opportunities that were available to him. In this article Philippa Burt examines Komisarjevsky's work in relation to the growing nationalistic and Russophobic attitudes in Britain during the 1920s and 1930s. It focuses particularly on his series of productions at the Shakespeare Memorial Theatre, and shows the subsequent critical outrage to be rooted in a desire to protect Shakespeare and, by extension, Britain as a whole from the ‘interference’ of a Russian director. Dr Philippa Burt is a lecturer in the Department of Theatre and Performance at Goldsmiths, University of London. She has previously published articles on Harley Granville Barker and Joan Littlewood, and is the recent recipient of a Harry Ransom Research Fellowship in the Humanities at the University of Texas at Austin.

APA, Harvard, Vancouver, ISO, and other styles

17

Paget, Derek. "‘Oh What a Lovely War’: the Texts and Their Context." New Theatre Quarterly 6, no. 23 (August 1990): 244–60. http://dx.doi.org/10.1017/s0266464x00004553.

Full text

Abstract:

This year marks no less than the twenty-seventh anniversary of the first performance, on 19 March 1963, of Oh What a Lovely War by the Theatre Workshop company at Stratford East – a production which has been alternatively mythologized as the apogee of the company's achievement under Joan Littlewood, and, by fewer but influential critics (notably the late Ewan MacColl), as its nadir. Even those who saw the show after its transfer to Wyndham's Theatre on 20 June 1963 may, as Derek Paget here illustrates, have seen a production which differed significantly from the original: while those who did not see either version (even if they can be persuaded that the subsequent film bears little relation to either) have to rely on the text as published by Methuen. But this, as Paget demonstrates, provides only one. albeit the most accessible, of the several sources of textual documentation: and in this article, derived from the author's doctoral thesis for Manchester University, he draws on the recollections of actors and other theatre workers as well as on printed, manuscript, and source materials, to illuminate the creation and, arguably, the subsequent dilution of this collectively created indictment of war.

APA, Harvard, Vancouver, ISO, and other styles

18

Miro, Ana Bonet. "From filmed pleasure to Fun Palace." Architectural Research Quarterly 22, no. 3 (September 2018): 215–24. http://dx.doi.org/10.1017/s1359135518000519.

Full text

Abstract:

The Fun Palace, a collaborative enterprise initiated by the radical theatre producer Joan Littlewood and architect Cedric Price in early 1960s London articulated a response to the ‘increased leisure’ available to postwar British society. A critical model for cultural production in which civics met pleasure, the Fun Palace project aimed to construct situations for playful exchange conducted through self-directed actions as a way to activate audiences. Pleasure for all – a ‘breakthrough to total enjoyment’, in opposition to what was seen as existing commodified leisure practices – became understood as a critical agenda pitched against the elitist and interventionist Labour government's 1965 White Paper, A Policy for the Arts: The First Steps. Enforcing class-based distinctions between the high arts and popular entertainment, state arts policy failed to address the key role played by the media in the rise of the leisure society. In analysing British communications in the 1960s, the cultural critic Raymond Williams argued that, rather than opposing fine art with popular entertainment, social growth could only be achieved through the circulation of public and independent media, opportunities for which were at the time limited within the corporate structure of British broadcasting and press.

APA, Harvard, Vancouver, ISO, and other styles

19

Burt, Philippa. "‘The Best Thing I Ever Did on the Stage’: Edward Gordon Craig and the Purcell Operatic Society." New Theatre Quarterly 38, no. 3 (July 19, 2022): 258–69. http://dx.doi.org/10.1017/s0266464x22000185.

Full text

Abstract:

Although lasting only two and a half years, Edward Gordon Craig’s engagement with the Purcell Operatic Society was his most consistent and productive period of work on the stage. This article re-examines this time during Craig’s life in order to ascertain why he saw it to be the zenith of his career. In particular, it analyzes his work with the amateur group to argue that it was foundational in the development of his approach to theatre-making and, further, helped him to introduce the entity of theatre director to Britain and what the role of such a person could be. By examining this material in relation to wider contextual factors, the article also shows how the group offered audiences an alternative to the dominant ‘star’ system of the early 1900s. The article thus indicates why Craig scholarship needs to place the Purcell Operatic Society at the centre of any of its discussions. Philippa Burt is a lecturer in Theatre and Performance at Goldsmiths, University of London. Her recent publications include the chapter ‘American Invasions’ in The Cambridge Companion to British Theatre of the First World War (forthcoming, September 2022), as well as articles on Harley Granville Barker and Joan Littlewood in New Theatre Quarterly and Theatre, Dance, and Performer Training.

APA, Harvard, Vancouver, ISO, and other styles

20

Patton, Alec. "Robert Leach. Theatre Workshop: Joan Littlewood and the Making of Modern British Theatre. Exeter: University of Exeter Press, 2005. Pp. 238. $95.00 (cloth)." Journal of British Studies 46, no. 4 (October 2007): 996–97. http://dx.doi.org/10.1086/522754.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Leach, Robert. "The Short, Astonishing History of the National Theatre of Scotland." New Theatre Quarterly 23, no. 2 (May 2007): 171–83. http://dx.doi.org/10.1017/s0266464x07000073.

Full text

Abstract:

The National Theatre of Scotland was constituted in 2003, following a debate in the newly devolved Scottish Parliament. Its first artistic director was appointed in 2004, and its inaugural production was presented in February 2006. Within another year, some twenty productions had been seen in over forty urban and rural locations – a rate of development in marked contrast to the slow crawl over more than half a century towards a National Theatre in London. Personal and political drive apart, a major reason for the speed with which the National Theatre of Scotland has not only established itself but gained respect far beyond national boundaries is the simple fact that it does not possess a theatre building, so that all its work must of necessity tour nationwide – or involve co-productions with building-based companies. Home, the opening event, was in fact a multiplicity of different shows tailored to ten different locations; later work has ranged from the classic Mary Stuart to Anthony Neilson's surrealist Wonderful World of Dissocia, from a reinvention of Macbeth to Gregory Burke's astonishing Black Watch, which interweaves the history of the famous but doomed Scottish regiment with the raw actuality of young soldiers serving in Iraq. In this article, based on a paper presented to the fourth Forum for Arabic Theatre in Sharjah in January 2007, Robert Leach surveys both the brief history of the company and the highlights of its prolific first year's work. Robert Leach lives in Scotland but teaches in England, at Cumbria Institute of the Arts in Carlisle. His latest book is Theatre Workshop: Joan Littlewood and the Making of Modern British Theatre, published by Exeter University Press in 2006.

APA, Harvard, Vancouver, ISO, and other styles

22

Pattie, David. "Robert Leach Theatre Workshop: Joan Littlewood and the Making of Modern British Theatre. Exeter: University of Exeter Press, 2006. 238 p. £16.99. ISBN: 0-85989-760-5." New Theatre Quarterly 24, no. 2 (May 2008): 205–6. http://dx.doi.org/10.1017/s0266464x08000225.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Yermuraki, O. I., and A. S. Rusol. "THE TENDENCY TO USE ADAPTIVE SPACE AS A FEATURE OF POST-INDUSTRIAL SOCIETY." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 96–105. http://dx.doi.org/10.31650/2707-403x-2020-14-96-105.

Full text

Abstract:

The article discusses the technologies and methods for creating universal environment, features of their use and their possibilities of functional extension placement by limited area. The analysis of world experience (Leonardo da Vinci, Galileo Galilei, Robert Fulton, Nikola Tesla, Joan Littlewood, Cederic Price, Larry Bell, Craig Kauffman, Peter Alexander, Mies van Dral Roeta Lille Reich, Dieter Rams). The light effecting on the proportions of the placement. For example of such groups like: Lightand Space, Aqua Creations, Manta Ray Light. The lighting system allows you to add dynamics into the space, expressiveness or isolation. Created an environment which would be change for human need. Use sliding partitions - screens, for example Popup Interactive Apartment is represented by Hyperbody design team from DelftUniversity of Technology. Authors idea is to place all placemant in a room with area of 50 square meters (smart technology) - where you can move not only partitions, but also furniture, which can suit specific human needs. The curtains were expertly fitted into the interior of the Samt & Seide cafe by architects Mies van der Roet Lilly Reich, which was designed for Die Modeder Dame exhibition in Berlin. A space with 300 square meters was zoned with using silk and velvet curtains, which were divided according to their color and height. Examples of flexible space are WAarchi's architectural project: architects have successfully rethought the space of the first building of Taiwan's Chiao Tung University construction school. Also, the article outlines prospect development of adaptive design on architecture and historical background, show the results of the analysis of questions adaptive spaces in the context modern development of society. Studding thematic publications gave it possible to highlighting the main tools dimensional zoning in interior design. Often used by architects and designers: work with light (own lighting, navigation, and communication with the observer); sliding partitions (take up less space in placement and can be transform); color and material (divide space on functional zone); kinetic elements of equipment, which can change their position in space or shape/ Describe the areas of their used on based for examples from world architectural practice, provide them the grade.

APA, Harvard, Vancouver, ISO, and other styles

24

Davis, Frank. "Advancing maths for AQA: Mechanics 3, Ted Graham, Aidan Burrows and Joan Corbett. Pp.195. £9.50.2001. ISBN 0 435 51308 7 (Heinemann). - Heinemann modular mathematics revise for Mechanics 3, John Hebborn and Jean Littlewood. Pp. 60. £3.99. 2002. ISBN 0 435 51115 7 (Heinemann)." Mathematical Gazette 87, no. 509 (July 2003): 355–56. http://dx.doi.org/10.1017/s0025557200172985.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

De Ornellas, K. "NADINE HOLDSWORTH. Joan Littlewood's Theatre." Review of English Studies 63, no. 259 (November 22, 2011): 344–46. http://dx.doi.org/10.1093/res/hgr117.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

El Baraka, Azzeddine. "Littlewood-Paley characterization for Campanato spaces." Journal of Function Spaces and Applications 4, no. 2 (2006): 193–220. http://dx.doi.org/10.1155/2006/921520.

Full text

Abstract:

The Littlewood-Paley characterization for the local approximation Campanato spacesLpαis well known in the casesα≥0andα=−np. We give in this paper a characterization of such a type forL2αspaces (and for Morrey-Campanato spacesL2,λ) for anyα≥−n2. These spaces contain as spacial cases the well known spacesBMOof John and Nirenberg and its local versionbmo.

APA, Harvard, Vancouver, ISO, and other styles

27

Paget, Derek. "‘Verbatim Theatre’: Oral History and Documentary Techniques." New Theatre Quarterly 3, no. 12 (November 1987): 317–36. http://dx.doi.org/10.1017/s0266464x00002463.

Full text

Abstract:

‘Verbatim Theatre’ has been the term utilized by Derek Paget during his extensive researches into that form of documentary drama which employs (largely or exclusively) tape-recorded material from the ‘real-life’ originals of the characters and events to which it gives dramatic shape. Though clearly indebted to sources such as the radio ballads of the 'fifties, and to the tradition which culminated in Joan Littlewood's Oh what a Lovely War, most of its practitioners acknowledge Peter Cheeseman's work at Stoke-on-Trent as the direct inspiration - in one case, as first received through the ‘Production Casebook’ on his work published in the first issue of the original Theatre Quarterly (1971). Quite simply, the form owes its present health and exciting potential to the flexibility and unobtrusiveness of the portable cassette recorder - ironically, a technological weapon against which are ranged other mass technological media such as broadcasting and the press, which tend to marginalize the concerns and emphases of popular oral history. Here, Derek Paget, who is currently completing his doctoral thesis on this subject, discusses with leading practitioners their ideas and working methods. Derek Paget teaches English and Drama at Worcester College of Higher Education, and has also had practical theatre experience ranging from community work to the West End, and from Joan Littlewood's final season at Stratford East to the King's Head, Islington.

APA, Harvard, Vancouver, ISO, and other styles

28

Bronars, Antonia, and Oliver M. O'Reilly. "Gliding motions of a rigid body: the curious dynamics of Littlewood's rolling hoop." Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences 475, no. 2231 (November 2019): 20190440. http://dx.doi.org/10.1098/rspa.2019.0440.

Full text

Abstract:

The celebrated mathematician John E. Littlewood noted that a hoop with an attached mass rolling on a ground plane may exhibit self-induced jumping. Subsequent works showed that his analysis was flawed and revealed paradoxical behaviour that can be resolved by incorporating the inertia of the hoop. A comprehensive analysis of this problem is presented in this paper. The analysis illuminates the regularity induced in the model of the hoop when its mass moment of inertia is incorporated, shows that the paradoxical motions of the hoop are consistent with the principles of mechanics and demonstrates the simplest example in the dynamics of rigid bodies that exhibits self-induced jumping.

APA, Harvard, Vancouver, ISO, and other styles

29

Tran, Tri Dung. "Musielak–Orlicz Hardy Spaces Associated with Divergence Form Elliptic Operators Without Weight Assumptions." Nagoya Mathematical Journal 216 (2014): 71–110. http://dx.doi.org/10.1017/s0027763000022443.

Full text

Abstract:

AbstractLetLbe a divergence form elliptic operator with complex bounded measurable coefficients, letωbe a positive Musielak-Orlicz function on (0, ∞) of uniformly strictly critical lower-typepω∈ (0, 1], and letρ(x,t) = t−1/ω−1(x,t−1) forx∈ ℝn, t∊ (0, ∞). In this paper, we study the Musielak-Orlicz Hardy spaceHω,L(ℝn) and its dual space BMOρ,L* (ℝn), whereL*denotes the adjoint operator ofLinL2(ℝn). Theρ-Carleson measure characterization and the John-Nirenberg inequality for the space BMOρ,L(ℝn) are also established. Finally, as applications, we show that the Riesz transform ∇L−1/2and the Littlewood–Paleyg-functiongLmapHω,L(ℝn) continuously intoL(ω).

APA, Harvard, Vancouver, ISO, and other styles

30

Holdsworth, Nadine. "‘They'd Have Pissed on My Grave’: the Arts Council and Theatre Workshop." New Theatre Quarterly 15, no. 1 (February 1999): 3–16. http://dx.doi.org/10.1017/s0266464x00012604.

Full text

Abstract:

It has become a critical commonplace to contrast the relative generosity of the early Arts Council towards establishment institutions with its miserliness towards Joan Littlewood's Theatre Workshop, as the company struggled to survive through the immediate post-war period of touring and then to establish itself with a degree of security at the Theatre Royal, Stratford East. In this article, Nadine Holdsworth complements evidence that has before been mainly anecdotal with material from the archives both of the company and the Council, and traces the mutual suspicions that were later also to undermine support for Littlewood's ‘Fun Palace’ in the 'sixties. She documents also the ironic loosening of the funding purse-strings at the very moment when Theatre Workshop's run of West End transfers depleted its energies at its Stratford base – and forced it also to return a percentage of its hard-won profits to Arts Council coffers. Nadine Holdsworth lectures in Theatre Studies at De Montfort University. She contributed an article to NTQ49 (1997) on ‘Good Nights Out: Activating the Audience with 7:84 (England)’.

APA, Harvard, Vancouver, ISO, and other styles

31

Bonet Miro, Ana. "On Playgrounds and the Archive: Joan Littlewood’s Stratford Fair, 1967–1975." Architecture and Culture 6, no. 3 (September 2, 2018): 387–98. http://dx.doi.org/10.1080/20507828.2018.1525114.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Tran, Tri Dung. "Musielak–Orlicz Hardy Spaces Associated with Divergence Form Elliptic Operators Without Weight Assumptions." Nagoya Mathematical Journal 216 (2014): 71–110. http://dx.doi.org/10.1215/00277630-2817420.

Full text

Abstract:

AbstractLet L be a divergence form elliptic operator with complex bounded measurable coefficients, let ω be a positive Musielak-Orlicz function on (0, ∞) of uniformly strictly critical lower-type pω ∈ (0, 1], and let ρ(x,t) = t−1/ω−1 (x,t−1) for x ∈ ℝn, t ∊ (0, ∞). In this paper, we study the Musielak-Orlicz Hardy space Hω,L(ℝn) and its dual space BMOρ,L* (ℝ n), where L* denotes the adjoint operator of L in L2 (ℝ n). The ρ-Carleson measure characterization and the John-Nirenberg inequality for the space BMOρ,L (ℝn) are also established. Finally, as applications, we show that the Riesz transform ∇L−1/2 and the Littlewood–Paley g-function gL map Hω,L(ℝn) continuously into L(ω).

APA, Harvard, Vancouver, ISO, and other styles

33

Kim, Ki-Won. "THE QUASIHYPERBOLIC METRIC AND ANALOGUES OF THE HARDY-LITTLEWOOD PROPERTY FOR α = 0 IN UNIFORMLY JOHN DOMAINS." Bulletin of the Korean Mathematical Society 43, no. 2 (May 1, 2006): 395–410. http://dx.doi.org/10.4134/bkms.2006.43.2.395.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Trussler, Simon. "Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’." New Theatre Quarterly 1, no. 1 (February 1985): 3–6. http://dx.doi.org/10.1017/s0266464x00001378.

Full text

Abstract:

The original series of Theatre Quarterly ran for ten years and forty issues, from 1971 to 1981. The relaunched journal intends to continue the best traditions of the old, while reflecting the changes that have overtaken the English-speaking theatre in the intervening years. Simon Trussler, who was an editor of the old TQ throughout its existence, here offers some personal reflections on the appearance of New Theatre Quarterly, the present mood of the theatre, and the challenges now facing theatre practitioners and researchers alike. Simon Trussler is also author of over twenty books and monographs on theatre, was drama critic of Tribune from 1966 to 1972, and currently teaches in the Drama Departments of Goldsmiths' College, University of London, and the University of Kent. Clive Barker, his associate editor on TQ since 1978, joins him as co-editor of the new journal. Formerly an actor with Joan Littlewood's Theatre Workshop, and author of the influential guide to actor training Theatre Games, Clive Barker is currently Senior Lecturer in Theatre Studies in the University of Warwick.

APA, Harvard, Vancouver, ISO, and other styles

35

Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (August 1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.

Full text

Abstract:

In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (based on a paper presented in November 1988 at the conference on theatre and education in Mohammédia, Morocco), he considers our changing perception of the relationship between the two senses of ‘play’, and the way in which ‘games’ have been institutionalized to avoid their inherent threat to an organized, work-disciplined society-a trend still being reinforced, as the improvisatory element of drama in schools becomes subject to the rigours of evaluation and examination. Clive Barker, whose career in the professional theatre began with Joan Littlewood's Theatre Workshop company, is co-editor of New Theatre Quarterly, and now teaches in the Joint School of Theatre Studies at the University of Warwick.

APA, Harvard, Vancouver, ISO, and other styles

36

Paget, Derek. "Nadine Holdsworth Joan Littlewood's TheatreCambridge; New York: Cambridge University Press, 2011. 323 p. £55.00. ISBN: 978-0-521-11960-3." New Theatre Quarterly 27, no. 4 (November 2011): 398–99. http://dx.doi.org/10.1017/s0266464x11000765.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Karlıdağ, Fatine. "Joan Littlewood’s Post-Theatrical Engagements Beyond Theatre Workshop: A Comparison of the Original Fun Palace Project With the 2014 – 2015 Revivals." Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, no. 32 (June 17, 2021): 37–56. http://dx.doi.org/10.26650/jtcd.906365.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Russen, S. C. "Mechanics 6 (New Edition), by John Hebborn and Jean Littlewood. Heinemann Modular Mathematics for Edexcel AS and A-Level. Pp. 118. £8.50. 2001. ISBN 0 435 51079 7 (Heinemann)." Mathematical Gazette 88, no. 511 (March 2004): 169. http://dx.doi.org/10.1017/s0025557200174625.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 3-4 (January 1, 1994): 317–407. http://dx.doi.org/10.1163/13822373-90002657.

Full text

Abstract:

-Peter Hulme, Stephen Greenblatt, New World Encounters. Berkeley: University of California Press, 1993. xviii + 344 pp.-Nigel Rigby, Alan Riach ,The radical imagination: Lectures and talks by Wilson Harris. Liège: Department of English, University of Liège, xx + 126 pp., Mark Williams (eds)-Jonathan White, Rei Terada, Derek Walcott's poetry: American Mimicry. Boston: North-eastern University Press, 1992. ix + 260 pp.-Ray A. Kea, John Thornton, Africa and Africans in the making of the Atlantic world, 1400-1680. Cambridge: Cambridge University Press, 1992. xxxviii + 309 pp.-B.W. Higman, Barbara L. Solow, Slavery and the rise of the Atlantic system. Cambridge: Cambridge University Press, 1991. viii + 355 pp.-Sidney W. Mintz, Michael Mullin, Africa in America: Slave acculturation and resistance in the American South and the British Caribbean, 1736-1831. Urbana: University of Illinois Press. 412 pp.-Karen Fog Olwig, Corinna Raddatz, Afrika in Amerika. Hamburg: Hamburgisches Museum für Völkerkunde, 1992. 264 pp.-Lee Haring, William Bascom, African folktales in the new world. Bloomington: Indiana University Press, 1992. xxv + 243 pp.-Frank Jan van Dijk, Dale A. Bisnauth, History of religions in the Caribbean. Kingston: Kingston Publishers, 1989. 225 pp.-Gloria Wekker, Philomena Essed, Everyday racism: Reports from women of two cultures. Alameda CA: Hunter House, 1990. xiii + 288 pp.''Understanding everyday racism: An interdisciplinary theory. Newbury Park CA: Sage, 1991. x + 322 pp.-Deborah S. Rubin, Vron Ware, Beyond the Pale: White women, racism, and history. London: Verso, 1992. xviii + 263 pp.-Michael Hanchard, Peter Wade, Blackness and race mixture: The dynamics of racial identity in Colombia. Baltimore: John Hopkins University Press, 1993. xv + 415 pp.-Rosalie Schwartz, Louis A. Pérez, Jr., Slaves, sugar, & colonial society: Travel accounts of Cuba, 1801-1899. Wilmington DE: SR Books, 1992. xxvi + 259 pp.-Susan Eckstein, Sandor Halebsky ,Cuba in transition: Crisis and transformation. With Carolee Bengelsdorf, Richard L. Harris, Jean Stubbs & Andrew Zimbalist. Boulder CO: Westview, 1992. xi + 244 pp., John M. Kirk (eds)-Michiel Baud, Andrés L. Mateo, Mito y cultura en la era de Trujillo. Santo Domingo: Librería La Trinitario/Instituto del Libro, 1993. 224 pp.-Edgardo Meléndez, Andrés Serbin, Medio ambiente, seguridad y cooperacíon regional en el Caribe. Caracas: Editorial Nueva Sociedad, 1992. 147 pp.-Dean W. Collinwood, Michael Craton ,Islanders in the stream: A history of the Bahamian people. Volume One: From Aboriginal times to the end of slavery. Athens: University of Georgia Press, 1992. xxxiii + 455 pp., Gail Saunders (eds)-Gary Brana-Shute, Alan A. Block, Masters of paradise: Organized crime and the internal revenue service in the Bahamas. New Brunswick NJ: Transaction Publishers, 1991. vii + 319 pp.-Michaeline Crichlow, Patrick Bryan, The Jamaican people 1880-1902. London: Macmillan Caribbean, 1991. xiv + 300 pp.-Faye V Harrison, Lisa Douglass, The power of sentiment: Love, hierarchy, and the Jamaican family elite. Boulder CO: Westview, 1992. xviii + 298 pp.-Frank Jan van Dijk, Bob Marley, Songs of freedom: From 'Judge Not' to 'Redemption Song.' Kingston: Tuff Gong/Bob Marley Foundation / London : Island Records, 1992 (limited edition). 63 pp. + 4 compact discs.-Riva Berleant-Schiller, Veront M. Satchell, From plots to plantations: Land transactions in Jamaica, 1866-1900. Mona: University of the West Indies, 1990. xiii + 197 pp.-Hymie Rubenstein, Christine Barrow, Family, land and development in St. Lucia. Cave Hill, Barbados: Institute for social and economic studies (ISER), University of the West Indies, 1992. xii + 83 pp.-Bonham C. Richardson, Selwyn Ryan, Social and occupational stratification in contemporary Trinidad and Tobago. St. Augustine, Trinidad: ISER, 1991. xiv + 474 pp.-Bill Maurer, Roland Littlewood, Pathology and identity: The work of Mother Earth in Trinidad. Cambridge: Cambridge University Press, 1993. xxii + 322 pp.-Robert Fatton, Jr., Brian Weinstein ,Haiti: The failure of politics. New York: Praeger, 1992. ix + 203 pp., Aaron Segal (eds)-Uli Locher, Michel S. Laguerre, The military and society in Haiti. Knoxville: University of Tennessee Press, 1993. x + 223 pp.-Paul E. Brodwin, Leslie G. Desmangles, The faces of the Gods: Vodou and Roman Catholicism in Haiti. Chapel Hill: University of North Carolina Press, 1992. xiii + 218 pp.-Marian Goslinga, Enid Brown, Bibliographical guide to Caribbean mass communication. John A. Lent (comp.). Westport CT: Greenwood Press, 1992. xi + 301 pp.''Suriname and the Netherlands Antilles: An annotated English-language bibliography. Metuchen NJ: Scarecrow Press, 1992. xi + 276 pp.-Jay B. Haviser, F.R. Effert, J.P.B. de Josselin de Jong, curator and archaeologist: A study of his early career (1910-1935). Leiden: Centre of Non-Western studies, University of Leiden, 1992. v + 119 pp.-Hans van Amersfoort, Anil Ramdas, De papegaai, de stier en de klimmende bougainvillea. Essays. Amsterdam: De Bezige Bij, 1992.-Ineke van Wetering, Deonarayan, Curse of the Devtas. Paramaribo: J.J. Buitenweg, 1992. v + 103 pp.-Ineke van Wetering, G. Mungra, Hindoestaanse gezinnen in Nederland. Leiden: Centrum voor Onderzoek Maatschappelijke Tegenstellingen, Rijksuniversiteit Leiden, 1990. 313 pp.-J.M.R. Schrils, Alex Reinders, Politieke geschiedenis van de Nederlandse Antillen en Aruba 1950-1993. Zutphen: Walburg Pers, 1993. 430 pp.-Gert Oostindie, G.J. Cijntje ,Stemmen OK, maar op wie? Delft: Eburon, 1991. 150 pp., A. Nicatia, F. Quirindongo (eds)-Genevieve Escure, Donald Winford, Predication in Caribbean English Creoles. Amsterdam & Philadelphia: John Benjamins, 1993, viii + 419 pp.-Jean D'Costa, Lise Winer, Trinidad and Tobago. Amsterdam & Philadelphia: John Benjamins, 1993. xi + 369 pp. (plus cassette)

APA, Harvard, Vancouver, ISO, and other styles

40

Barker, Clive. "Tell Me When It Hurts: the ‘Theatre of Cruelty’ Season, Thirty Years On." New Theatre Quarterly 12, no. 46 (May 1996): 130–35. http://dx.doi.org/10.1017/s0266464x00009957.

Full text

Abstract:

The piece which follows was written in 1964 after seeing the Theatre of Cruelty season, directed by Peter Brook and Charles Marowitz at the then recently opened LAMDA Theatre in West London, and has never been published in full before. It was my attempt to sum up discussions with colleagues and friends in the weeks after performances, and has served something of that purpose with students later. Following from this I was asked by Albert Hunt and Geoffrey Reeves if they could quote from it in their recent book on Peter Brook in the CUP ‘Directors’ series. Since then, another author has quoted from this source, and, in the event of further excerpting, it seems wise to publish the document in full so that any future quotation will be in recognition of the context in which the statement is made. There are other reasons. Looking back, 1964 can be seen as a crucial crossroads in the British theatre, and the interest in Artaud and Theatre of Cruelty one of the manifestations of a growing frustration with the British actor's inability or unwillingness to physicalize the action rather than intellectualize and verbalize it. It takes up the gauntlet thrown down by Littlewood in that year with Oh, What a Lovely War! and the formation of E15 Acting School by Margaret Bury, as with the Copeau-style training work initiated by John Blatchley at Central School, which led to his formation, with Christopher Fettes and Yat Malmgren, of Drama Centre. The founding of these two schools signalled a significant shift in the training methods and programmes for British actors. The Theatre of Cruelty season seems in retrospect to sum up Brook's frustration at being unable to realize his ideas in the British theatre. Subsequent writers, who in the main never saw the performances, have tended to mark down the season as a great success, instead of the dismal failure I thought it – whether in terms of finding solutions to the problems posed or of keeping any sort of faith with the ideas propounded by Artaud. So a mythology has grown up. Looking at what I wrote then from the position of today I stand by my critique, though I also see what I gained from the performances in the development of my own work, since they revealed clearly a number of blind alleys to be avoided and also enabled me to view the area of training actors to be the crucial issue to be addressed if the British theatre was to move forward. After this, Brook moved Paris and began to experiment further with the problems he was pursuing by importing actors, and consequently skills and styles, from other countries and traditions. Early in his time there, I was present in the Meubilier National, along with an audience of school-children, to witness work in progress on forms of narrative. The experience was as enlightening and enlivening as the Theatre of Cruelty had been stultifying. Though I assured him that I had nothing but praise, Brook asked me not to publish anything on what I had seen, and I did not want to offend him. I have often wished that I had set down my analysis of that experience to counterbalance what I had written on Theatre of Cruelty. I am happy to publish the following article to give an alternative view of this crucial moment in British theatre history, but I regret not being able to put the positive companion piece alongsid.

APA, Harvard, Vancouver, ISO, and other styles

41

Bonet-Miró, Ana. "Authorship and the Archive: The Reception of the Fun Palace Project." Ra. Revista de Arquitectura, November 3, 2021, 32–49. http://dx.doi.org/10.15581/014.23.32-49.

Full text

Abstract:

El Fun Palace, el emblemático complejo cultural iniciado en Londres en 1961 por Joan Littlewood y Cedric Price y cuya agenda iría progresivamente ganando en contingencia e inestabilidad hasta 1975, circula sin cesar en la investigación académica de la arquitectura en la actualidad. Sin embargo, el programa cultural del proyecto que emana del archivo y el papel de Littlewood en él aparecen en cierto modo neutralizados en estos discursos. Este artículo reconstruye los casi sesenta años de historia de la recepción del Fun Palace para investigar críticamente las condiciones que influyeron en la construcción de sus distintivas imágenes. La compleja topología del archivo del Fun Palace se vislumbra como un actor principal en la constitución de los modos de recepción del proyecto en la actualidad: la investigación académica y el activismo.

APA, Harvard, Vancouver, ISO, and other styles

42

Stamatiou, Evi. "Joan Littlewood and Ariane Mnouchkine against the canon: developing the actors’ social representations through clowning." Theatre, Dance and Performance Training, January 5, 2022, 1–17. http://dx.doi.org/10.1080/19443927.2021.1968026.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

"Joan Littlewood's theatre." Choice Reviews Online 49, no. 04 (December 1, 2011): 49–1978. http://dx.doi.org/10.5860/choice.49-1978.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Izuki, Mitsuo, Takahiro Noi, and Yoshihiro Sawano. "The John–Nirenberg inequality in ball Banach function spaces and application to characterization of BMO." Journal of Inequalities and Applications 2019, no. 1 (October 21, 2019). http://dx.doi.org/10.1186/s13660-019-2220-6.

Full text

Abstract:

Abstract Our goal is to obtain the John–Nirenberg inequality for ball Banach function spaces X, provided that the Hardy–Littlewood maximal operator M is bounded on the associate space $X'$ X ′ by using the extrapolation. As an application we characterize BMO, the bounded mean oscillation, via the norm of X.

APA, Harvard, Vancouver, ISO, and other styles

45

Nghĩa, Lê Trung, Phan Thành Phát, Lê Minh Thức, Dư Kim Thành, and Trần Trí Dũng. "CALDERÓN-ZYGMUND COMMUTATORS OF TYPE THETA ON GENERALIZED MORREY-LORENTZ SPACE." Tạp chí Khoa học 21, no. 4 (April 23, 2024). http://dx.doi.org/10.54607/hcmue.js.21.4.3995(2024).

Full text

Abstract:

Trong bài báo này, chúng tôi xét hoán tử Calderón-Zygmund loại (xem Định nghĩa 1.3 , 1.4 và 1.5 trong Phần 1) trong không gian Morrey – Lorentz tổng quát (xem Định nghĩa 1.1). Trước tiên chúng tôi thiết lập đánh giá điểm cho toán tử cực đại Hardy-Littlewood và toán tử cực đại chặt tác động lên toán tử Calderón-Zygmund loại và hoán tử của nó (xem Bổ đề 2.4 và 2.5 trong Phần 2) bằng cách sử dụng bất đẳng thức Kolmogorov, bất đẳng thức Holder, các điều kiện của nhân chuẩn trong định nghĩa của toán tử Calderón-Zygmund loại và hệ quả nổi tiếng của bất đẳng thức John-Nirenberg. Sử dụng các đánh giá điểm quan trọng này, chúng tôi chứng minh được rằng các toán tử Calderón-Zygmund loại bị chặn trên không gian Morrey – Lorentz tổng quát (xem Định lý 2.1) dựa theo ý tưởng và kỹ thuật liên quan đến toán tử cực đại trong công trình của Thai et al. (2022), Carro et al. (2021) và Liu et al. (2002). Hơn nữa, kết hợp đánh giá điểm cho toán tử cực đại nhọn tác động lên hoán tử Calderón-Zygmund loại và tính bị chặn của toán tử Calderón-Zygmund trên , chúng tôi chứng minh được hoán tử loại cũng bị chặn trên không gian này.

APA, Harvard, Vancouver, ISO, and other styles

46

"Letter from Roland Littlewood in response to John Paddock's Letter to the Editor regarding Vieda Skultan's overview Anthropology and Psychiatry: The Uneasy Alliance in TPRR 28(1991): 357-8." Transcultural Psychiatric Research Review 29, no. 2 (January 1992): 190–91. http://dx.doi.org/10.1177/136346159202900213.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Littlewood, joan'

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