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Journal articles on the topic 'Mime'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Roche, Joseph A., Morium Begam, Andrea K. Eaton, Collin J. Elkins, Jaclyn P. Johnson, Mattina M. Rosinski, and Sujay S. Galen. "Minimally Invasive Muscle Embedding Generates Donor-Cell-Derived Muscle Fibers that Express Desmin and Dystrophin." Military Medicine 185, Supplement_1 (January 2020): 423–29. http://dx.doi.org/10.1093/milmed/usz203.

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ABSTRACT Introduction The aim of this study was to quantify the extent of donor-cell-derived myogenesis achieved by a novel surgical technique known as Minimally Invasive Muscle Embedding (MIME). Materials and Methods Through MIME, we implanted a single extensor digitorum longus muscle from donor mice (N = 2) that expressed a red fluorescent protein (RFP), into the left tibialis anterior (TA) muscle of immunodeficient host mice (N = 4) that expressed a green fluorescent protein (GFP). Soon after MIME, we injected a myotoxin (barium chloride), into the host TA muscle, to trigger concerted muscle degeneration and regeneration. In lieu of MIME, we performed a SHAM procedure on the right TA muscle of the same set of animals. Results In MIME-treated muscles, 22% ± 7% and 78% ± 7% muscle fibers were RFP+ and GFP+, respectively (mean ± standard deviation); and all RFP+ fibers were positive for desmin and dystrophin. Conclusion. We conclude that MIME helps generate muscle fibers of donor origin, in host muscle.

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2

Naito, Jonathan Tadashi. "WRITING SILENCE: Samuel Beckett's Early Mimes." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 393–402. http://dx.doi.org/10.1163/18757405-019001032.

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In the twentieth century, French theatre was dramatically transformed by a reconsideration of the possibilities of mime. However, Samuel Beckett's three early mimes, "Dreamer's Mime A" and and , have not been identified with this phenomenon. This essay argues that rather than being eccentric works, these early mimes were crucial in Beckett's development of a decidedly corporeal dramatic aesthetic. In this respect, he has much in common with his French contemporaries Jacques Copeau and Jean-Louis Barrault, who, through a broadly conceived notion of mime, sought to return the body to the stage.

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3

Würffel, Stefan Bodo. "andere Mime." Die Musikforschung 46, no. 1 (September 22, 2021): 32–44. http://dx.doi.org/10.52412/mf.1993.h1.1141.

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In der Gestalt des Zwerges verbinden sich märchenhafte, mythologische und psychologische Züge. Anhand von Richard Wagners Ring des Nibelungen und Alexander Zemlinskys Der Zwerg, wird der Märchenfigur des Zwerges in seinen unterschiedlichen Bedeutungszusammenhängen nachgegangen. Deutlich gemacht wird vor allem der Aspekt der persönlichen Erfahrung, die das Spiel und die Personengestaltung mitbestimmte. bms online (Weil, Karola)

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4

Foster, Hal. "Dada Mime." October 105 (July 2003): 166–76. http://dx.doi.org/10.1162/016228703769684263.

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5

Kedas, Anita, Myrna L. Reed, and Warren E. Lux. "Parkinson's mime." Geriatric Nursing 10, no. 4 (July 1989): 182–83. http://dx.doi.org/10.1016/s0197-4572(89)80196-x.

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6

Kopek, Wojciech. "Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”." Roczniki Humanistyczne 67, no. 3 SELECTED PAPERS IN ENGLISH (October 29, 2019): 45–61. http://dx.doi.org/10.18290/rh.2019.67.3-3en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). The aim of this article is to discover the literary context for Horace’s Epode 12 by juxtaposing it with Herondas’ mimes, particularly Mime 5, titled The Jealous Woman. The description of the relationship between these works is based on the ancient theory of rhetoric and on elements of Horace’s Ars poetica. It has been established that Epode 12 has numerous features of the literary mime: it is an apparent dialogue (sermocinatio, παρῳδή) recited by a single performer (mime), most probably in the scenery of an ancient feast. A participant in the feast becomes an actor, who first performs the role of a male lover (iuvenis) and then the role of a superannuated female lover (mulier). These character types are typical of both Old and New Comedy styles, but the whole dramatic setting seems to bear the greatest resemblance to Mime 5, in which the same literary protagonists are found in a scene analogous to a lovers’ quarrel. On the one hand, specific rhetorical figures (imitatio / μίμησις) indicate that the literary original was used in a creative manner. On the other, Mime 5 can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime 5 and metaphorical—financial—in Epode 12, where the iuvenis is the mulier’s “kept man”).

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7

Lust, Annette, Etienne Decroux, and Mark Piper. "Words on Mime." Theatre Journal 39, no. 4 (December 1987): 534. http://dx.doi.org/10.2307/3208270.

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8

Nye, Edward. "The Eighteenth-Century Ballet-Pantomime and Modern Mime." New Theatre Quarterly 25, no. 1 (February 2009): 22–43. http://dx.doi.org/10.1017/s0266464x09000037.

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Histories of mime largely overlook one of the most remarkable theatrical phenomena of the eighteenth and early nineteenth century: the ballet-pantomime. In contrast, it is widely discussed in dance history circles, as if there were a tacit understanding that only one half of this hyphenated art mattered: the ballet rather than the pantomime. This article explores the mime component of the ballet-pantomime in order to compare and contrast it with modern mime, especially Etienne Decroux's principles and practices. Through the works of Noverre particularly (since Decroux declares himself an admirer), but with reference also to other famous and less famous eighteenth-century choreographers and dancers, Edward Nye discusses five aspects of mime: use of the body, mime and dance, mime and language, objective and subjective mime, and pedagogy. He finds differences as well as similarities between modern and eighteenth-century mime, but overall argues that there is no reason to exclude the ballet-pantomime from histories of mime. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in A Bicyclette (Les Belles Lettres, 2000), and of dance, in Danse et littérature; sur quel pied danser? (ed., Rodopi, 2003).

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9

Gat. "Adopsi Model Business to Consumer (B2C) Dalam Menghasilkan Sistem Mobile Marketplace." CogITo Smart Journal 4, no. 1 (June 28, 2018): 200. http://dx.doi.org/10.31154/cogito.v4i1.113.200-212.

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Penggunaan teknologi mobile sudah menjadi kebutuhan keseharian bagi banyak orang sehingga tidak mengherankan jika jumlah pengguna teknologi mobile terus meningkat. Kehadiran teknologi mobile telah menjadi peluang tersendiri bagi pemilik bisnis untuk memanfaatkan teknologi tersebut dalam mendukung kegiatan bisnis terutama bisnis penjualan. Sistem mobile marketplace dengan model business to customer dapat membantu para pemilik usaha untuk menjual produk mereka ke konsumen. Masyakat sebagai konsumen menggunakan smartphone untuk melakukan pembelian terhadap produk pada sistem mobile marketplace. Berdasarkan pengujian Cross-Browser, telah dihasilkan tampilan yang sesuai dengan informasi dari pada sistem tersebut sekalipun dibuka dengan browser yang berbeda. Selanjutnya pengujian Web Page Performance menghasilkan MIME type request yang menunjukkan tipe yang ada didalam website. Semakin banyak data yang ada pada setiap tipe maka dalam request akan semakin lama, hal ini bisa dilihat MIME Type images. Sedangkan pada bagian MIME Type Bytes memperlihatkan bahwa setiap type memiliki ukuran masing-masing. Semakin besar MIMI Type maka akan memiliki byte yang besar. Secara keseluruhan, sistem mobile marketplace memiliki kecepatan yang baik karena MIME type request menunjukkan angkat yang kecil. Hasil penelitian ini adalah aplikasi mobile marketplace yang dapat dipergunakan dengan baik pada perangkat mobile untuk mencari informasi dan melakukan transaksi. Keywords : Business To Consumer, Mobile Marketplace, Cross-Browser, Web Page Performance

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10

Benzerga, S., C. Michaux, E. Calvo Lasso De Lavega, and T. Staub. "Tuberculosis the Big Mime." Acta Scientific Medical Sciences 4, no. 5 (April 17, 2020): 36–37. http://dx.doi.org/10.31080/asms.2020.04.0615.

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11

Le Guyader, Hervé. "L’art du mime Heliconius." Pour la Science N° 513 - juillet, no. 7 (May 3, 2020): 92–94. http://dx.doi.org/10.3917/pls.513.0092.

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12

Sklar, Deidre. "Etienne Decroux's Promethean Mime." Drama Review: TDR 29, no. 4 (1985): 64. http://dx.doi.org/10.2307/1145692.

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13

Croft, Sue. "Rhymes to mime to!" Practical Pre-School 2011, no. 121 (February 2011): vii—viii. http://dx.doi.org/10.12968/prps.2011.1.121.vii.

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14

Whitis, Peter R. "Therapy With a Mime." American Journal of Psychiatry 160, no. 7 (July 2003): 1243–44. http://dx.doi.org/10.1176/appi.ajp.160.7.1243.

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15

Sibierska, Marta, Monika Boruta-Żywiczyńska, Przemysław Żywiczyński, and Sławomir Wacewicz. "What’s in a mime?" Interaction Studies 23, no. 2 (December 31, 2022): 289–321. http://dx.doi.org/10.1075/is.22002.sib.

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Abstract Several lines of research within developmental psychology, experimental semiotics and language origins studies have recently converged in their interest in pantomime as a system of bodily communication distinct from both language (spoken or signed) and nonlinguistic gesticulation. These approaches underscore the effectiveness of pantomime, which despite lack of semiotic conventions is capable of communicating complex meanings. However, very little research is available on the structural underpinnings of this effectiveness, that is, the specific properties of pantomime that determine its communicative success. To help fill in this gap, we conducted an exploratory rating study aimed at identifying those properties of pantomime that facilitate its understanding. We analysed an existing corpus of 602 recordings of whole-body re-enactments of short transitive events, coding each of them for 6 properties, and found out that the presence of salient elements (conspicuous objects in a specific semantic space), image mapping (representing the physical orientation of the object), and gender markers (distinguishing between the represented characters) increased the guessability of pantomimes.

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16

Mateiciuc, Ioan. "Mime Language. From Singularity To Community." Theatrical Colloquia 10, no. 1 (May 1, 2020): 168–75. http://dx.doi.org/10.2478/tco-2020-0012.

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AbstractThis article approaches the subject of theatrical language in mime, aiming to identify the mechanisms and resources of stage performance, referring itself to the silence/speech binomial. Can mime impose a valid theatrical language? Will a type of structuralism, through a reduction of complexities, manage to encompass the essence of the implications of stage acting within social structures? We will see the extent to which theater can trace a pattern of collective mime language socially and the extent to which such an approach will manage to encompass the interaction of the mind with an external reality, while also analysing the ability of the performer – when the latter understands their own mind or creates maps of their own mind or of the community – to create a sort of cognitive empathy, resulting in an extraction of a theory of collectivity, which is, most often, ignored in such a cultural performance as mime, and its protagonists may or may not find a place in a social mind.

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17

Edwards, Jessie K., Stephen R. Cole, and Matthew P. Fox. "Flexibly Accounting for Exposure Misclassification With External Validation Data." American Journal of Epidemiology 189, no. 8 (January 23, 2020): 850–60. http://dx.doi.org/10.1093/aje/kwaa011.

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Abstract Measurement error is common in epidemiology, but few studies use quantitative methods to account for bias due to mismeasurement. One potential barrier is that some intuitive approaches that readily combine with methods to account for other sources of bias, like multiple imputation for measurement error (MIME), rely on internal validation data, which are rarely available. Here, we present a reparameterized imputation approach for measurement error (RIME) that can be used with internal or external validation data. We illustrate the advantages of RIME over a naive approach that ignores measurement error and MIME using a hypothetical example and a series of simulation experiments. In both the example and simulations, we combine MIME and RIME with inverse probability weighting to account for confounding when estimating hazard ratios and counterfactual risk functions. MIME and RIME performed similarly when rich external validation data were available and the prevalence of exposure did not vary between the main study and the validation data. However, RIME outperformed MIME when validation data included only true and mismeasured versions of the exposure or when exposure prevalence differed between the data sources. RIME allows investigators to leverage external validation data to account for measurement error in a wide range of scenarios.

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18

Darrault, Ivan. "Le discours (neutralisé ?) du mime." Linx 21, no. 1 (1989): 67–77. http://dx.doi.org/10.3406/linx.1989.1131.

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19

Lust, Annette. "Midwest Mime and Clown Festival." Theatre Journal 38, no. 1 (March 1986): 111. http://dx.doi.org/10.2307/3207835.

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20

Rolfe, Bari, and Thomas Leabhart. "Modern and Post-Modern Mime." Theatre Journal 43, no. 2 (May 1991): 267. http://dx.doi.org/10.2307/3208233.

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21

Bennett, Toby, and Giannandrea Poesio. "Mime in the Cecchetti 'Method'." Dance Research: The Journal of the Society for Dance Research 18, no. 1 (2000): 31. http://dx.doi.org/10.2307/1291010.

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22

Tomer, Christinger. "MIME and Electronic Reference Services." Reference Librarian 19, no. 41-42 (June 17, 1994): 347–73. http://dx.doi.org/10.1300/j120v19n41_25.

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23

Lawtoo, Nidesh. "The Critic and the Mime." Minnesota review 2020, no. 95 (November 1, 2020): 93–119. http://dx.doi.org/10.1215/00265667-8623756.

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In this interview, J. Hillis Miller and Nidesh Lawtoo take one of the most influential concepts in Western aesthetics, mimēsis, as an Ariadne’s thread to retrace the major turns in Miller’s career and, by extension, to promote a re-turn of mimesis in literary theory and criticism. Complicating standard accounts of deconstruction and rhetorical reading as simply antimimetic, Miller acknowledges the centrality of this ancient concept to his intellectual development and to major turns in literary theory as well: his early engagement with New Criticism and phenomenology in the 1950s, his encounter with Jacques Derrida and deconstruction in the 1960s, his development of rhetorical reading in the company of Paul de Man in the 1970s and 1980s, and his engagement with ethics and community in 1990s and 2000s, stretching to include his most recent critical reflections on contemporary US politics and the new media that disseminate it. In the process, this interview reveals how mimēsis functions as a protean concept, or mime, that under different conceptual masks is constantly at play in Miller’s dialogic relation with criticism and theory, old and new. Staging a dialogue, Miller and Lawtoo join forces to show that this often marginalized literary-philosophical concept takes center stage in the political, ethical, scientific, and technological transformations that cast a shadow on present and future generations.

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24

Thomas, B. "Digital toolbox. Controlling interests [MIME]." IEEE Internet Computing 1, no. 4 (1997): 97–99. http://dx.doi.org/10.1109/4236.612233.

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25

Forgues, M. L., M. Ruffaut, C. Aznar, C. Le Pommelet, and E. Chauvet. "Quand l’histoplasmose mime la tuberculose." La Revue de Médecine Interne 31 (December 2010): S469—S470. http://dx.doi.org/10.1016/j.revmed.2010.10.281.

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26

Benzerga, S., C. Michaux, E. Calvo Lasso De Lavega, and T. Staub. "La tuberculose le grand mime." La Revue de Médecine Interne 40 (December 2019): A202—A203. http://dx.doi.org/10.1016/j.revmed.2019.10.308.

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27

Bennett, Toby, and Giannandrea Poesio. "Mime in the Cecchetti ‘method’." Dance Research 18, no. 1 (April 2000): 31–43. http://dx.doi.org/10.3366/1291010.

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28

Patel, S. P., G. Henderson, and N. D. Georganas. "The multimedia fax-MIME gateway." IEEE Multimedia 1, no. 4 (1994): 64–70. http://dx.doi.org/10.1109/93.338688.

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29

FIDANER, Yagmur, Aysun COSKUN, and Tamer ERGUN. "S/MIME Certificate Test Suite." Eurasia Proceedings of Science Technology Engineering and Mathematics 24 (December 25, 2023): 83–88. http://dx.doi.org/10.55549/epstem.1406237.

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30

Mishra, Siddharth S., and Mahvish Sayed. "Effects of Mime Therapy With Sensory Exercises on Facial Symmetry, Strength, Functional Abilities, and the Recovery Rate in Bell's Palsy Patients." Function and Disability Journal 4, no. 1 (August 7, 2021): 35. http://dx.doi.org/10.32598/fdj.4.35.

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Background and Objectives: Bell palsy is the sudden lower motor neuron paralysis of the facial nerve, characterized by acute unilateral peripheral facial muscle weakness. Physiotherapy has been proven to be beneficial in the rehabilitation of patients with Bell palsy and is important to prevent permanent contractures of the paralyzed facial muscles. A physiotherapy technique includes electrical stimulation and mime therapy to help in restoring lost muscle functions. Also, sensory exercises include varied normality solutions administered. This study aimed to find the effects of mime therapy with sensory exercises on facial symmetry and functional abilities among Bell palsy patients. Methods: A total number of 30 participants were recruited for an interventional study and conveniently assigned into three groups (n=10), where group A received electrical stimulation with facial exercises, group B received electrical stimulation with mime therapy, and group C received a combination of electrical stimulation, mime therapy, and sensory exercises. Each group received 18 sessions; each session was for 60 minutes per day, six days per week, for three weeks. Then, all the participants were assessed using the Sunnybrook facial grading system and the facial disability index. Results: Intragroup analysis showed a significant difference within all three groups (P<0.05). Besides, the intergroup comparison showed maximum recovery in group C followed by groups B and A. Conclusion: A combination of mime therapy and electrical stimulation along with sensory exercises provides the most beneficial intervention to improve facial function and reduce facial synkinesis in Bell palsy individuals. Hence, sensory exercises are recommended as an adjunct to electrical stimulation and mime therapy for the line of treatment for individuals with Bell palsy.

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31

Baylis, Nicola. "Making Visible the Invisible: Corporeal Mime in the Twenty-First Century." New Theatre Quarterly 25, no. 3 (August 2009): 274–88. http://dx.doi.org/10.1017/s0266464x0900044x.

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Corporeal mime and the work of Etienne Decroux are well known in the world of physical theatre, remaining inspirational to those who have studied and explored this complex art form. In the following article Nicola Baylis examines the prevailing misunderstandings that surround corporeal mime, briefly addressing its historical context, and moving on to discuss contemporary applications of Decroux's training system. With the increasing advent of innovative theatre produced by a new wave of actors trained in corporeal mime, she focuses on the current work of artists in Naples, and concludes with reflections on corporeal mime's relevance to present-day experimental performance and on the potential future role of the form within modern theatre. Nicola Baylis is an actor, director, and teacher who has trained in corporeal mime and commedia dell'arte. Before moving to Naples, she worked as a Lecturer in Drama on degree programmes at Bournemouth and Poole College, in conjunction with Bournemouth University. She is currently working on an adaptation of Macbeth which will be performed in London in the autumn.

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Nye, Edward. "Jean-Gaspard Deburau: Romantic Pierrot." New Theatre Quarterly 30, no. 2 (May 2014): 107–19. http://dx.doi.org/10.1017/s0266464x14000232.

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Jean-Gaspard Deburau was the nineteenth-century mime artist who created a new model for subsequent performers to either imitate or reject, but hardly to ignore. Silent cinema benefited from the nineteenth-century vogue for the mime in general – and the Pierrot character that he did so much to popularize in particular. The most famous mime of the twentieth century, Marcel Marceau, derived his character ‘Bip’ in part from Deburau's Pierrot. And while two of the most influential French mime artists of the twentieth century, Jean-Louis Barrault and Étienne Decroux, sought a radical departure from his Pierrot tradition, they ironically found themselves in the now legendary French film Les Enfants du paradis acting the parts respectively of Deburau and Deburau's father. In this article Edward Nye explores the reasons for Deburau's success from two perspectives: first, by considering Deburau's reputation for clarity of expression, and the absence of critical or public debate over any obscurity; and second, the context of the Romantic movement which primed spectators to appreciate his style of performance. Edward Nye is Fellow of Lincoln College, Oxford, and University Lecturer in French. He has published on seventeenth- and eighteenth-century subjects in French literature and the arts, notably Mime, Music, and Drama on the Eighteenth-Century Stage: the Ballet d'Action (CUP 2011), Literary and Linguistic Theories in Eighteenth-Century France (OUP, 2000), and on the literary aesthetics of sports writing, in À Bicyclette (Les Belles Lettres, 2000).

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Tutt, Lee W., Jeffrey I. Zink, and Eric J. Heller. "Simplifying the MIME: a formula relating normal mode distortions and frequencies to the MIME frequency." Inorganic Chemistry 26, no. 13 (July 1987): 2158–60. http://dx.doi.org/10.1021/ic00260a029.

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Tusa, Michael C. "Mime, Meyerbeer and the Genesis ofDer junge Siegfried: New Light on the ‘Jewish Question’ in Richard Wagner’s Work." Cambridge Opera Journal 26, no. 2 (July 2014): 113–46. http://dx.doi.org/10.1017/s0954586714000019.

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AbstractBetween the initial conception in 1848 of a project on the Siegfried legend comprising a single work,Siegfried’s Tod, and its subsequent expansion in 1851 with the addition ofDer junge Siegfriedas a ‘prequel’ about the hero’s early life, Richard Wagner turned against Giacomo Meyerbeer in public denunciations in ‘Das Judentum in der Musik’ (1850) andOper und Drama(1850–1). Changes in the treatment of the Mime–Siegfried relationship between 1848 and 1851 as well as similarities between Wagner’s characterisations of Meyerbeer and his portrayal of Mime in the 1851 sources suggest that Wagner’s animosity towards his former mentor informed a new conception of the dwarf. The troubled Mime–Siegfried relationship that crystallised in 1851 allowed Wagner to give symbolic, aesthetic form not only to his criticisms of Meyerbeer as man and artist but also to his own new creative path. That Meyerbeer by 1851 had come to represent to Wagner the personal and artistic deficiencies of all Jews necessarily also means that Wagner’s projection of Meyerbeer into Mime inDer junge Siegfriedcarried with it a more generally anti-Jewish message, as is frequently asserted in the literature.

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35

Konstan, David. "The Tyrant Goddess: Herodas's Fifth "Mime"." Classical Antiquity 8, no. 2 (October 1, 1989): 267–82. http://dx.doi.org/10.2307/25010909.

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36

Little, James. "Beckett's ‘Mongrel Mime’: Politics and Poetics." Journal of Beckett Studies 27, no. 2 (September 2018): 193–210. http://dx.doi.org/10.3366/jobs.2018.0236.

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This article analyses Beckett's unpublished and unperformed prison play ‘Mongrel Mime’, written for ex-San Quentin inmate Rick Cluchey in 1982–83. Drawing on Shane Weller's concept of Beckett's ‘anethics’, Dirk Van Hulle's model of authorial pentimenti and Anne Ubersfeld's semiotics of theatre space, it argues that close analyses of Beckett's manuscripts can give us a clearer picture of the politics of his work. While dominant models of Beckett's poetics focus on his ‘vaguening’ and ‘undoing’ of spatial detail, this article contends that Beckett's creative engagement with spaces of coercive confinement demonstrates a variety of working methods. The key role of carceral space in ‘Mongrel Mime’, an important though underexamined example of Beckett's use of confinement, presents a politics which is far from vague.

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Ershadi, Mahsa, Thalia R. Goldstein, Joseph Pochedly, and James A. Russell. "Facial expressions as performances in mime." Cognition and Emotion 32, no. 3 (April 25, 2017): 494–503. http://dx.doi.org/10.1080/02699931.2017.1317236.

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38

Christo and Ida Hounkpatin. "Lorsqu 'un pont mime la ville..." Espaces Temps 33, no. 1 (1986): 47–49. http://dx.doi.org/10.3406/espat.1986.3321.

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39

Esslinger, Bernhard. "Sichere E-Mail mit S/MIME." Datenschutz und Datensicherheit - DuD 38, no. 5 (May 2014): 305–13. http://dx.doi.org/10.1007/s11623-014-0116-7.

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40

McClure, Ben. "Adoption of S/MIME still lagging." Computers & Security 17, no. 4 (January 1998): 328. http://dx.doi.org/10.1016/s0167-4048(98)80028-x.

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41

Lawtoo, Nidesh. "Wilde's Mime Acts: Performing Minor Mimesis." MLN 138, no. 5 (December 2023): 1438–59. http://dx.doi.org/10.1353/mln.2023.a922033.

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Abstract: Mimesis is not a minor literary and philosophical concept in western thought. Still, an immanent, marginalized, and in this sense minor conception of performative mimesis (from mimos , actor or performance) is currently informing the transdisciplinary field of mimetic studies. Supplementing Deleuze and Guattari's account of Kafka's "minor literature," this article focuses on Oscar Wilde's dramatizations of performative mimesis revealing that not only language is performative; human lives and bodies are also driven by "an imitative instinct." From The Picture of Dorian Gray to The Importance of Being Earnest , Wilde's dramatic impersonations of homo mimeticus allow him to do not only things with words (speech acts) but also to do things with affects and bodies (mime acts). In the process, he provides new steps to further the mimetic turn or re -turn to a minor, performative, and embodied theory of homo mimeticus .

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Goes, Maria Lívia Nobre. "O teatro de guerrilha segundo R. G. Davis." Sala Preta 19, no. 1 (August 30, 2019): 134–49. http://dx.doi.org/10.11606/issn.2238-3867.v19i1p134-149.

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A expressão “teatro de guerrilha” aparece pela primeira vez em um ensaio de R. G. Davis, então diretor da San Francisco Mime Troupe, publicado na Tulane Drama Review em 1966 e rapidamente ganha adesão no ambiente de efervescência política e experimentação contracultural do teatro alternativo nos anos 1960 e 1970. Este artigo analisa o desenvolvimento das formulações de Davis sobre o tema entre 1965 e 1971, com destaque para as experiências da San Francisco Mime Troupe.

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D'Souza, Arnold Fredrick, and Sydney Roshan Rebello. "Comparing the effectiveness of mime therapy and neuromuscular re-education in improving facial symmetry and function in acute Bell's palsy: a pilot randomised clinical trial." International Journal of Therapy and Rehabilitation 28, no. 3 (March 2, 2021): 1–8. http://dx.doi.org/10.12968/ijtr.2019.0121.

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Background/aims Untreated Bell's palsy may lead to disability and reduced quality of life, while early intervention can improve prognosis. This pilot randomised clinical trial aims to compare the effectiveness of mime therapy and neuromuscular re-education in improving facial symmetry and function in patients with acute Bell's palsy. Methods A total of 20 patients diagnosed with Bell's palsy were included in this study after meeting the inclusion criteria. Patients were randomly divided into two groups of ten. Group A received mime therapy while group B received neuromuscular re-education. Each participant received 12 sessions of the respective treatment over 2 weeks and was assessed for facial symmetry and function using the Sunnybrook Facial Grading System and the Facial Clinimetric Evaluation Scale respectively. Results Although both mime therapy and neuromuscular re-education showed highly significant improvements within each group for both the Sunnybrook Facial Grading System (P=0.005) and Facial Clinimetric Evaluation Scale (P=0.005); they showed no difference between each group for the Sunnybrook Facial Grading System (P=0.212) and Facial Clinimetric Evaluation Scale (P=0.97). Conclusions Mime therapy and neuromuscular re-education are equally effective in the recovery of facial symmetry and function in acute Bell's palsy. Physiotherapists can choose between either technique based on their skills and preference or based on patient comfort and expectation.

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Bannerman, Eugen, and Adrian Pecknold. "The Canadian Mime Theatre: A Thirty-Year Retrospective." Canadian Theatre Review 96 (September 1998): 83–86. http://dx.doi.org/10.3138/ctr.96.012.

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The Canadian Mime Theatre opened in April 1969, and for eight years Adrian Pecknold served as its artistic director, writer and lead mime. He took the company to the International Festival in Sophia, Bulgaria, and its tremendous success there resulted in invitations to appear nationally and internationally. He toured with his company across Canada and the United States and, three times, to Europe, culminating in a prestigious world tour and international acclaim. In recognition of his contribution to theatre and theatre education in Canada, he was awarded the Queen’s Silver Jubilee Medal in 1977.

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Cabanillas, F., F. B. Hagemeister, P. McLaughlin, W. S. Velasquez, S. Riggs, L. Fuller, and T. Smith. "Results of MIME salvage regimen for recurrent or refractory lymphoma." Journal of Clinical Oncology 5, no. 3 (March 1987): 407–12. http://dx.doi.org/10.1200/jco.1987.5.3.407.

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Based on encouraging results of two previous ifosfamide-VP-16 salvage combinations, methyl-gag was added to ifosfamide, methotrexate, and etoposide (VP-16). This combination is called MIME. A total of 208 patients with recurrent lymphoma were treated with this regimen. Response rates were 24% for complete remission and 36% for partial remission. The MIME regimen was more effective in patients who were treated after being off front-line therapy for longer than 6 months. However, responses were also seen in patients with disease clearly resistant to front-line therapy, suggesting that MIME was at least partially non-cross-resistant with front-line doxorubicin-containing regimens. The 15-month median relapse-free survival of complete responders and the 9-month overall median survival time for all patients treated were both similar to results from previous ifosfamide-VP-16 combination use. This regimen has been effective in the treatment of patients with recurrent or refractory lymphoma, but cannot be considered curative in the majority of cases.

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Chulakadabba, Apisada, Maryann Sargent, Thomas Lauvaux, Joshua S. Benmergui, Jonathan E. Franklin, Christopher Chan Miller, Jonas S. Wilzewski, et al. "Methane point source quantification using MethaneAIR: a new airborne imaging spectrometer." Atmospheric Measurement Techniques 16, no. 23 (December 1, 2023): 5771–85. http://dx.doi.org/10.5194/amt-16-5771-2023.

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Abstract. The MethaneSAT satellite instrument and its aircraft precursor, MethaneAIR, are imaging spectrometers designed to measure methane concentrations with wide spatial coverage, fine spatial resolution, and high precision compared to currently deployed remote sensing instruments. At 12 960 m cruise altitude above ground (13 850 m above sea level), MethaneAIR datasets have a 4.5 km swath gridded to 10 m × 10 m pixels with 17–20 ppb standard deviation on a flat scene. MethaneAIR was deployed in the summer of 2021 in the Permian Basin to test the accuracy of the retrieved methane concentrations and emission rates using the algorithms developed for MethaneSAT. We report here point source emissions obtained during a single-blind volume-controlled release experiment, using two methods. (1) The modified integrated mass enhancement (mIME) method estimates emission rates using the total mass enhancement of methane in an observed plume combined with winds obtained from Weather Research Forecast driven by High-Resolution Rapid Refresh meteorological data in Large Eddy Simulations mode (WRF-LES-HRRR). WRF-LES-HRRR simulates winds in stochastic eddy-scale (100–1000 m) variability, which is particularly important for low-wind conditions and informing the error budget. The mIME can estimate emission rates of plumes of any size that are detectable by MethaneAIR. (2) The divergence integral (DI) method applies Gauss's theorem to estimate the flux divergence fields through a series of closed surfaces enclosing the sources. The set of boxes grows from the upwind side of the plume through the core of each plume and downwind. No selection of inflow concentration, as used in the mIME, is required. The DI approach can efﬁciently determine ﬂuxes from large sources and clusters of sources but cannot resolve small point emissions. These methods account for the effects of eddy-scale variation in different ways: the DI averages across many eddies, whereas the mIME re-samples many eddies from the LES simulation. The DI directly uses HRRR winds, while mIME uses WRF-LES-HRRR wind products. Emissions estimates from both the mIME and DI methods agreed closely with the single-blind volume-controlled experiments (N = 21). The York regression between the estimated emissions and the released emissions has a slope of 0.96 [0.84, 1.08], R = 0.83 and N = 21, with 30 % mean percentage error for the whole dataset, which indicates that MethaneAIR can quantify point sources emitting more than 200 kg h−1 for the mIME and 500 kg h−1 for the DI method. The two methods also agreed on methane emission estimates from various uncontrolled sources in the Permian Basin. The experiment thus demonstrates the powerful potential of the MethaneAIR instrument and suggests that the quantification method should be transferable to MethaneSAT if it meets the design specifications.

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Clark, Marshall. "Indonesia’s Jemek Supardi: From pickpocket to mime artist." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 167, no. 2-3 (2011): 210–35. http://dx.doi.org/10.1163/22134379-90003590.

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Indonesia’s leading mime artist, Jemek Supardi, is a former pickpocket and grave-digger. Based in the key centre of Indonesian performative arts, the city of Yogyakarta, Central Java, Jemek is an active member of several artistic troupes and he is a collaborator, friend and acquaintance of many within the closely-knit arts-scene, which in terms of diversity and sheer volume of performances, is unique in Indonesia. Although mime is a niche art-form in Indonesia, Jemek’s self-taught skill as a pantomime artist is clearly evident and his reputation as a professional is second-to-none, particularly in Yogyakarta. This article examines key elements of Jemek’s performative milieu, including his use of mime and silence as a mode of cultural and political expression and his use of white face-paint as an expression of solidarity with the Javanese proletariat. The link between the personal and political elements of Jemek’s artistic practice will also be examined, simultaneously highlighting the difficulty of applying any particular theoretical template onto his life and art.

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Virapyan, Ed G. "Cultural experiences with narratives." Voprosy kul'turologii (Issues of Cultural Studies), no. 11 (November 26, 2021): 1043–51. http://dx.doi.org/10.33920/nik-01-2111-07.

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Lorelle, Yves. "Théâtre corporel et mime au XXe siècle." Revue de la BNF 40, no. 1 (2012): 16. http://dx.doi.org/10.3917/rbnf.040.0016.

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Schmeh, Klaus, and Matthias Edelhoff. "S/MIME und PGP im selben Client." Datenschutz und Datensicherheit - DuD 46, no. 7 (June 28, 2022): 439–43. http://dx.doi.org/10.1007/s11623-022-1635-2.

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