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Journal articles on the topic 'Performing arts – Alberta – Calgary'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Goffin, Jeffrey. "Canada's Finest Theatre: The Sherman Grand." Theatre Research in Canada 8, no. 2 (September 1987): 193–203. http://dx.doi.org/10.3138/tric.8.2.193.

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The oldest standing theatre in Calgary, The Sherman Grand Theatre was the focal point of the local theatre scene from its opening in 1912 at the peak of the first boom years in Alberta to 1937 when it was converted to a movie house. It served as a roadhouse offering international stars and touring companies as well as a venue for concerts and productions by local amateurs.

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2

Petrov, Julia. "The new Phrygian cap: Pussy hats, feminism and anti-fashion." Clothing Cultures 7, no. 1 (March 1, 2021): 49–62. http://dx.doi.org/10.1386/cc_00027_1.

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The international wave of Women’s Marches in 2017 (and subsequent years) was fuelled by anger about the misogynist tone of the American election (aimed at contender Hillary Clinton) and a sense that the rights of women and sexual minorities were being threatened. In particular, protests were triggered by the newly elected president’s unearthed comments about female genitalia: ‘grab ‘em by the pussy’. Following the instigation of craftivists in California, women around the world donned pink knitted hats with points resembling cat ears, which became known as ‘pussy hats’. This chapter uses examples collected as rapid response collecting after the marches in Edmonton and Calgary (Alberta, Canada) for the Royal Alberta Museum to argue that the pussy hat is an example of anti-fashion in its embrace of anti-consumption, and its role to promote political accountability. The pussy hat, in effect, is the uniform of a feminist political ethics.

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3

Gradinskaitė, Vilma. "In Search of Missing Collection: The Case of Artist Albert Rappaport." Art History & Criticism 17, no. 1 (November 15, 2021): 31–42. http://dx.doi.org/10.2478/mik-2021-0003.

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Summary The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.

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4

Bloom, Hailey. "Grassroots Calgary: Understanding the CivicCamp Calgary Social Movement." International Journal of Architectonic, Spatial, and Environmental Design 16, no. 2 (2022): 125–31. http://dx.doi.org/10.18848/2325-1662/cgp/v16i02/125-131.

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5

Bennett, Susan, Tracy Davis, and Kathleen Foreman. "‘Breaking the Surface’ at Calgary." New Theatre Quarterly 8, no. 30 (May 1992): 187–93. http://dx.doi.org/10.1017/s0266464x00006631.

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6

Vanderkooi, Otto G., James D. Kellner, Andrew W. Wade, Tajdin Jadavji, Julian P. Midgley, Thomas Louie, and Gregory J. Tyrrell. "InvasiveStreptococcus pneumoniaeInfection Causing Hemolytic Uremic Syndrome in Children: Two Recent Cases." Canadian Journal of Infectious Diseases 14, no. 6 (2003): 339–43. http://dx.doi.org/10.1155/2003/219027.

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INTRODUCTION:Streptococcus pneumoniaeis an uncommon cause of hemolytic uremic syndrome (HUS) with a unique pathophysiology that differs from Shiga toxin-related HUS.METHODS: Case descriptions for each patient are provided. Each strain ofS pneumoniaewas subjected to a pulsed-field gel electrophoresis (PFGE) analysis, Shiga toxin assay and polymerase chain reaction to detect Shiga toxin genes. A review of the current literature was conducted.CASE PRESENTATIONS: Two patients withS pneumoniae-related HUS that presented to the Alberta Children's Hospital, Calgary, Alberta, within four weeks of each other in 2001 are described. Both presented with pneumonia and empyema with associated HUS. Both patients required dialysis, one patient for 10 days and the other for 18 days. Neither patient demonstrated evidence of Shiga toxin-related disease.S pneumoniaeisolated from blood or pleural fluid was penicillin susceptible. One isolate was serotype 3 and the other was serotype 14. The two strains had different PFGE patterns. Both patients recovered well with no persistent renal dysfunction.CONCLUSIONS:S pneumoniaecontinues to be an uncommon but important cause of HUS. Most cases can be confirmed or at least considered probable without performing a renal biopsy.

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7

Garcia-Rodriguez, Juan Antonio, James A. Dickinson, Grace Perez, David Ross, Lilian Au, Shelley Ross, Oksana Babenko, and Ian Johnston. "Procedural Knowledge and Skills of Residents Entering Canadian Family Medicine Programs in Alberta." Family Medicine 50, no. 1 (January 8, 2018): 10–21. http://dx.doi.org/10.22454/fammed.2018.968199.

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Background and Objectives: Incoming family medicine (FM) residents start residency with different levels of procedural training. Understanding their baseline skill level is necessary to plan the educational experiences and teaching methods that will provide the desired knowledge, skills, and attitudes related to performing medical procedures. Methods: A survey of 69 procedures based on the core list issued by the College of Family Physicians of Canada was administered to incoming residents in Alberta (Calgary and Edmonton FM programs). The survey intended to identify the levels of training and confidence acquired for each listed procedure before residency, and plans to perform each of the procedures in future independent practice. Results: A total of 146 residents from both programs responded to the survey (82% response rate). Of the 69 procedures evaluated, 15 (21.7%) had been previously performed at least five times by 50% or more residents. Only five procedures were rated by 80% or more of the residents as being able to perform independently or to teach to others: simple suture, infiltration of local anesthetic, intramuscular injection, cryotherapy of skin lesions and Pap smear. More male residents than female residents felt confident in performing 10 procedures, while female residents were more confident in performing Pap smears. Rural residents felt more confident to perform 22 procedures than their urban colleagues. Conclusions: This information demonstrates limited prior training in procedures among entering residents, and provides guidance to FM programs to develop teaching interventions to achieve competence in those procedural skills seen as necessary for family physicians.

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8

Harris, Claire. "Backstage at the Glenbow Museum, Calgary." Callaloo 19, no. 1 (1996): 21–23. http://dx.doi.org/10.1353/cal.1996.0038.

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9

Kloetzel, Melanie. "Site-Specific Dance in a Corporate Landscape." New Theatre Quarterly 26, no. 2 (May 2010): 133–44. http://dx.doi.org/10.1017/s0266464x10000278.

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Site-specific performance relies on the terms space and place as markers for discussing a performance's engagement with a site. However, practitioners and researchers are often disgruntled by the limitations such terms impose upon site-specific performance – as was Melanie Kloetzel, in the creation of The Sanitastics, a site-specific dance film created in the Calgary Walkway System. In this article, Kloetzel examines how theorists have struggled with space and place in the last four decades and how bringing in the perspective of the body allows us to reassess our assumptions about these terms. As she analyzes her creative process, she discovers the restrictions as well as possibilities in space and place, but she also notes the need for Marc Augé's idea of non-place to clarify her site-specific efforts in the homogenized, corporate landscape of the Walkway System. Kloetzel is an associate professor at the University of Calgary and the artistic director of kloetzel&co, a dance company founded in New York City in 1997 that has presented work across North America. Her site-specific films have been shown in Brazil, Belgium, Canada, and the United States, and her anthology with Carolyn Pavlik, Site Dance: Choreographers and the Lure of Alternative Spaces, was published by the University Press of Florida in 2009.

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10

Day, Moira, and Marilyn Potts. "Elizabeth Sterling Haynes: Initiator of Alberta Theatre." Theatre Research in Canada 8, no. 1 (January 1987): 8–35. http://dx.doi.org/10.3138/tric.8.1.8.

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This article discusses the contributions of Elizabeth Sterling Haynes to 'drama-in-education'and to the Little Theatre Movement in Albertafrom 1922 to 1937, and in New Brunswick from 1937 to 1939. Haynes' dedication to acting, directing and, most importantly, educating, illustrates her passionate committment to theatre. The influence of her legacy continues through the people she inspired and the institutions she directed.

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Curran-Sills, Gwynn, and Tasnima Abedin. "Risk factors associated with injury and concussion in sanctioned amateur and professional mixed martial arts bouts in Calgary, Alberta." BMJ Open Sport & Exercise Medicine 4, no. 1 (July 2018): e000348. http://dx.doi.org/10.1136/bmjsem-2018-000348.

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BackgroundThere is limited literature that examines risk factors for injury and mild traumatic brain injury (mTBI) in mixed martial arts (MMA). An examination of previously unstudied bout and athlete characteristics that may pose health risks while partaking in this sport is warranted.Hypothesis/purposeTo determine the incidence of injury and concussion, along with the identification of risk factors that contribute to injury and mTBI in amateur and professional MMA bouts in Calgary, Alberta.Study designA retrospective cohort study with case–control design.MethodsCalgary amateur and professional MMA records were examined from 1 January 2010 to 31 December 2015. Descriptive statistics were used to describe the incidence of injury and concussion, along with univariate and multivariable logistic regression to identify risk factors for injury and mTBI.ResultsThe injury rate per 100 athlete exposure (AE), the injury rate per 100 min of exposure and the concussion rate per 100 AE were 23.6 (95% CI 20.5 to 27.0), 4.1 (95% CI 3.48 to 4.70) and 14.7 (95% CI 11.8 to 17.2), respectively. The most common location of injury was the head and mTBI was the most common type of injury. Athletes whose bout was finished by a knockout/technical knockout, corner stoppage, draw, no contest or physician, and those whose country of origin was non-Canadian, were more likely to sustain an injury. No risk factors for concussion were shown to be significant.ConclusionEngaging in MMA exposes athletes to inherent risk and several recommendations are proposed to reduce these risks. Future prospective investigations are necessary to better delineate the findings in this study.

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12

Dunsdon, Jamie. "Stuck to the Pole: Raven Virginia and the Redefinition of Burlesque in Calgary." Canadian Theatre Review 158 (April 2014): 22–26. http://dx.doi.org/10.3138/ctr.158.005.

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13

Bennett, Susan. "Only in Alberta? Angels in America and Canada." Theatre Research in Canada 17, no. 2 (January 1996): 160–74. http://dx.doi.org/10.3138/tric.17.2.160.

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"Only in Alberta? Angels in America and Canada" provides a Canadian theatre history for Kushner's Pulitzer prize-winning epic. In the context of Angels' critical reception, the paper examines the entry of the play into such a history as both a gay play and a history play. The discussion elaborates the critical discourses which would subsume gay identity under a broader politic of liberal pluralism, an effect of which, it is suggested, is to render the homosexual intolerable. Angels in America, however, is seen as a resistant text which calls into question the very operations of that politic. Following from Alan Sinfield's recent discussion of gay identity claimed by an ethnicity-and-rights model, the essay considers the potentialities of Angels in laying bare the assumptions that make such identifications crucial to the play's reception.

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Bennett, Susan. "Only in Alberta? Angels in America and Canada." Theatre Research in Canada 17, no. 2 (January 1996): 160–74. http://dx.doi.org/10.3138/tric.17.2.160.

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15

Fink, Howard. "CKUA: Radio Drama and Regional Theatre." Theatre Research in Canada 8, no. 2 (September 1987): 221–33. http://dx.doi.org/10.3138/tric.8.2.221.

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This article details the contributions made especially during the late twenties and thirties to the history of theatre in Alberta throughout the West, and to the nation as a whole by station CKUA of the University of Alberta. It pioneered the broadcasting of drama and theatre education programmes, offèred an opportunity for dramatists such as Gwen Pharis Ringwood and Elsie Park Gowan, aided the founding of the Banff Theatre School (now Banff School of Fine Arts), and allowed for the development of Alberta's indigenous theatre.

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16

Smith, Annie. "Atomies of Desire: Directing Burning Vision in Northern Alberta." Canadian Theatre Review 144 (October 2010): 54–59. http://dx.doi.org/10.3138/ctr.144.54.

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17

Richards, Kimberly Skye. "Crude Optimism: Romanticizing Alberta’s Oil Frontier at the Calgary Stampede." TDR/The Drama Review 63, no. 2 (June 2019): 138–57. http://dx.doi.org/10.1162/dram_a_00839.

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Designed to preserve and promote western heritage and culture, the Calgary Exhibition and Stampede has become entwined with, and politically and economically expedient for, Alberta’s oil and gas industry. Performances at the Stampede relieve guilt about the expropriation of Indigenous territory and conquest of the natural world, and produce an affective climate of “crude optimism,” an optimistic attachment to fossil fuel production and consumption despite the brutal realities of extractivism.

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18

HOROWITZ, JOEL. "Jonathan D. Ablard, Madness in Buenos Aires: Patients, Psychiatrists, and the Argentine State, 1880–1983 (Calgary, Alberta: University of Calgary Press, 2008), pp. xi+319, $32.00; £23.50, pb." Journal of Latin American Studies 42, no. 4 (November 2010): 854–55. http://dx.doi.org/10.1017/s0022216x1000146x.

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19

Doolittle, Joyce. "The Alden Nowlan Papers: An Inventory of the Archive at the University of Calgary Libraries. Compiled by Jean M. Moore. Edited by Steele Apollonia and Jean F. Tenex. Biocritical essay by Gibbs Robert. Calgary: The University of Calgary Press, 1992. Pp. 585. $34.95." Theatre Research International 19, no. 2 (1994): 174. http://dx.doi.org/10.1017/s0307883300019507.

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20

Davis, Tracy C. "The Spectacle of Absent Costume: Nudity on the Victorian Stage." New Theatre Quarterly 5, no. 20 (November 1989): 321–33. http://dx.doi.org/10.1017/s0266464x0000364x.

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The recent revaluation and exploration of ninetenth-century theatre has gone almost in parallel with the development of contemporary feminist criticism: yet the one approach has all too rarely meshed with the other. Here, Tracy C. Davis attempts a feminist critique of that distinctively Victorian phenomenon, the display of naked and near-naked female flesh in the theatre – at a time when even the legs of pianos were discreetly veiled in respectable drawing-rooms. She questions how the conventions of stage costume were able to defy conventional proprieties, how that defiance ‘served the heterosexual male hegemonic aesthetic’, and how it related to ways of ‘seeing’ nudity during the nineteenth century. Presently teaching in the Drama Department of the University of Calgary, Tracy C. Davis has contributed widely to theatrical journals, and her study of ‘The Employment of Children in the Victorian Theatre’ was included in NTQ6 (1986).

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21

Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.

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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.

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22

Warburton, Miranda. "Understanding Stone Tools and Archaeological Sites. Brian P. Kooyman 2000. University of Calgary Press, Calgary, Alberta, Canada. 206 pp. $39.95 (Canadian) (cloth), ISBN 1-55238-035-1; $29.95 (Canadian) (paper), ISBN 1-55238-021." American Antiquity 66, no. 3 (July 2001): 556–57. http://dx.doi.org/10.2307/2694270.

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23

Polak, Michelle, Bruce Barton, and Martin Julien. "“Traces Devised Reminiscence”." Canadian Theatre Review 187 (July 1, 2021): 53–56. http://dx.doi.org/10.3138/ctr.187.018.

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One of the last performances Vertical City (Bruce Barton and Pil Hansen) created before moving from Toronto to Calgary was Trace, which premiered at the 2014 SummerWorks festival. Crafted in a compact and intense development process with close collaborators Michelle Polak and Martin Julien, Trace marked a subtle but defining moment in our artistic trajectory. Engaging participants in ways unconceivable in our present pandemic world, it was one of our most illuminating explorations of the potential for/in deeply intimate personal exchange between performers and audience members. Trace was built on, with, and through a process of spontaneous collective reminiscence-one perhaps only conceivable within SummerWorks’ combination of careful curatorial oversight and empowering artist autonomy. Adopting similar structural and aesthetic principles, this impressionistic three-way meandering reflects back on that experience. In the process, it renders a fittingly fragmented but deeply felt ode to SummerWorks’ distinctive blend of intention, intelligence, and opportunity.

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GILLINGHAM, PAUL. "Suzanne B. Pasztor, The Spirit of Hidalgo: The Mexican Revolution in Coahuila (Calgary, Alberta, and East Lansing, MI: University of Calgary Press and Michigan State University, 2002), pp. xvi+224, $49.95, hb." Journal of Latin American Studies 36, no. 4 (November 2004): 818–20. http://dx.doi.org/10.1017/s0022216x04348510.

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25

Dobson, Teresa. "‘High-Engender'd Battles’: Gender and Power in ‘Queen Lear’." New Theatre Quarterly 14, no. 54 (May 1998): 139–45. http://dx.doi.org/10.1017/s0266464x00011957.

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As a companion piece to the foregoing study of Ophelia and /, Hamlet, there follows a full appraisal of a project discussed in the previous issue (NTQ53) as part of our feature on the Open University/BBC experiments in ‘multimedia Shakespeare’. For King Lear: Text and Performance – one of the pilot CD-ROMS which were the end-products of the experiment – three teams of performers were commissioned, in collaboration with the University of Alberta in Edmonton, Canada, to create over a two-day period their own variations on the Heath Scene in Lear. The most innovative of these, in Teresa Dobson's judgement, was conceived and directed by the Canadian performance artist and writer Beau Coleman, who envisioned a female Lear – a woman who, having found success in a male-dominated world, comes to confront the nature of that power in the process of relinquishing it. Teresa Dobson, who teaches in the Faculty of Education at the University of Alberta, witnessed and here records the development of the project, also assessing how far it succeeded in its intention to ‘raise questions about the gender and power relations in King Lear, as well as questions about what happens when Lear himself is cast against gender’.

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26

Bird, Kym. "Performing Politics: Propaganda, Parody and a Women's Parliament." Theatre Research in Canada 13, no. 1 (January 1992): 168–93. http://dx.doi.org/10.3138/tric.13.1.168.

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The initial phase of women's drama in Canada coincides with the first wave of 19th-century Canadian feminism and the Canadian women's reform movement. At the time, a variety of women wrote and staged plays that grew out of their commitment to the political, ideological and social context of the movement. The 'Mock Parliament,' a form of theatrical parody in which men's and women's roles are reversed, was collectively created by different groups of suffragists in Manitoba, Ontario, Alberta and British Columbia. This article attempts to recuperate these works for a history of Canadian feminist theatre. It will argue that the 'dual' conservative and liberal ideology of the suffrage movement informs all aspects of the Mock Parliament. On the one hand, these plays critique the division of gender roles that material feminism wants to uphold; they are testimony to the strength of a woman's movement that knew how to work as equal players within traditionally structured political organizations. On the other hand, they betray the safe, moderate tactics of an upper and middle-class, white womanhood who wanted political representation but no structural social change. These opposing tensions are inherent in theatrical parody which is both imitative and critical.

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27

O'Neill, Patrick B. "George Mann. Theatre Lethbridge: A History of Theatrical Production in Lethbridge, Alberta (1885-1988)." Theatre Research in Canada 16, no. 1-2 (January 1995): 129–31. http://dx.doi.org/10.3138/tric.16.1_2.129.

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O'Neill, Patrick B. "George Mann. Theatre Lethbridge: A History of Theatrical Production in Lethbridge, Alberta (1885-1988)." Theatre Research in Canada 16, no. 1 (January 1995): 129–31. http://dx.doi.org/10.3138/tric.16.1.129.

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Hester, Sam. "Indie comics in Alberta: two stories from the field." Journal of Graphic Novels and Comics 11, no. 5-6 (July 16, 2020): 576–86. http://dx.doi.org/10.1080/21504857.2020.1775668.

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30

Lipkin, Joan. "Rabble-Rousing in St Louis with That Uppity Theatre." New Theatre Quarterly 9, no. 36 (November 1993): 367–78. http://dx.doi.org/10.1017/s0266464x00008265.

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Joan Lipkin, playwright, poet, and theatre director, has won considerable critical acclaim – and some calculated abuse – for the political work of her company, That Uppity Theatre, in St Louis, Missouri. Her role-reversing pro-choice musical, He's Having Her Baby, provided the focal point for the preceding article, and one of her earliest pieces, Half-Time, about football in American life, performed in front of a bank vault, launched the city's alternative space movement. Her other better-known pieces include Some of My Best Friends Are …, Love and Work and Other Four-Letter Words, Will the Real Foster Parents Please Stand Up? and Small Domestic Acts. To support her theatre work over the years, Lipkin has worked in roles as various as waitress, art critic, journalist, and television producer: initially trained as a historian, she has also taught at university level for ten years. She is, in her own words, ‘always a rabble-rouser, that's been in the family history for a while’. Lizbeth Goodman interviewed Lipkin in Canada, during the ‘Breaking the Surface’ festival and conference at the University of Calgary in November 1991.

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31

Day, Moira. "'The Country Mouse at Play': Theatre in the Peace River District 1914-1945." Theatre Research in Canada 12, no. 2 (September 1991): 115–30. http://dx.doi.org/10.3138/tric.12.2.115.

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Most theatre history studies concentrate on theatre as it was experienced in the larger urban centres of eastern and western Canada assuming that theatre in the rural districts either followed a similar pattern or simply did not exist. By exploring the dynamics of entertainment in the prosperous but unusually isolated Peace River country in northwestern Alberta between 1914 and 1945, this paper hopes to suggest that rural theatre, particularly in the more isolated districts, often had a distinct character of its own arising from the particular geography,social needs, economic conditions and human resources of the area.

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32

Doolittle, Lisa. "The Trianon and on: Reading Mass Social Dancing in the 1930s and 1940s in Alberta, Canada." Dance Research Journal 33, no. 2 (2001): 11. http://dx.doi.org/10.2307/1477801.

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Pasarić, Jelena, and Marina Đurović. "Alberto Marliani u srcu Bednje." Portal, no. 12 (December 27, 2021): 145–59. http://dx.doi.org/10.17018/portal.2021.8.

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Objedinjujući rezultate konzervatorsko-restauratorskih, prirodoznanstvenih, povijesnoumjetničkih i povijesnih istraživanja na slici iz dvorca Trakošćan, evidentiranoj pod imenom Neutvrđeni muškarac (možda Maksimilijan I. Habsburški), tekst donosi spoznaje o porijeklu, vremenu nastanka i složenim mijenama slike koja je na jednom platnu nosila tri superponirana portreta triju različitih osoba povezanih s Milanskim Vojvodstvom i obitelji Sforza u tri različita perioda. Otkriveni izvorni renesansni portret iz ranog 16. stoljeća prikazuje plemića Alberta Marlianija i primjer je leonardesknog smjera lombardskog slikarstva visoke renesanse, ali i izniman primjer ranog portretnog slikarstva sačuvan na tlu kontinentalne Hrvatske.

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34

Buller, Rachel Epp. "Caring for our futures: Epistolary praxis and the promise of slow." Performing Ethos: International Journal of Ethics in Theatre & Performance 12, no. 1 (November 1, 2022): 9–20. http://dx.doi.org/10.1386/peet_00042_1.

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This creative–critical article advocates for the promise of letters in imagining possible futures. The piece includes ten of my Letters to the Future, epistolary poems written as fictocritical conversations between the texts that I read and imagined future readers. In the letters, I write of listening and care, patterns and methods of making passed between our hands, embodied forms of knowledge and slow practices, as I imagine and speak to our future caring communities. The letters are interspersed with short scholarly reflections on feminist epistolary history, traditions of matrilineal knowledge and slow reading as maternal performance. As part of my multimodal research-creation project on listening as artistic practice, this epistolary work takes visual form in drawings, paper-cut installations and letterpress prints, exhibited most recently at the University of Alberta in 2022.

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HALE, CHARLES A. "Claudia Agostoni, Monuments of Progress: Modernization and Public Health in Mexico City, 1876–1910 (Calgary, Alberta: University of Calgary Press; Boulder, CO: University Press of Colorado; México, DF: Universidad Nacional Autónoma de México, 2003), pp. xvii+228, pb." Journal of Latin American Studies 36, no. 2 (May 2004): 390–92. http://dx.doi.org/10.1017/s0022216x04287727.

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36

Orrell, John. "E. Ross Stuart. The History of the Prairie Theatre: The Development of Theatre in Alberta, Manitoba and Saskatchewan, 1833-1982." Theatre Research in Canada 7, no. 1 (January 1986): 96–97. http://dx.doi.org/10.3138/tric.7.1.96.

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Orrell, John. "E. Ross Stuart. The History of the Prairie Theatre: The Development of Theatre in Alberta, Manitoba and Saskatchewan, 1833-1982." Theatre Research in Canada 7, no. 1 (January 1986): 96–97. http://dx.doi.org/10.3138/tric.7.1.96.

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38

Wardle, Irving. "Thieves and Parasites: on Forty Years of Theatre Reviewing in England." New Theatre Quarterly 13, no. 50 (May 1997): 119–32. http://dx.doi.org/10.1017/s0266464x00008782.

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Irving Wardle has spent his working life as a theatre reviewer – for thirty-seven years after 1959 passing what he estimates to have been an average of four nights a week, excluding holidays, sitting in theatres, and turning out notices to meet overnight or weekly deadlines – successively as deputy to Kenneth Tynan on The Observer, from 1963 as long-serving critic for The Times, and subsequently for the Independent on Sunday until he retired from the profession in 1995. The following retrospect was originally conceived as a talk for the Banff Centre for the Arts, Alberta, Canada, where it was delivered in July 1996. While a good deal of the history of British theatre through which Irving Wardle moved will be familiar to NTQ readers of the same generation, he brings to that common experience an uncommon perspective – and here confesses frankly to failures of judgement and misgivings, as well as snaring some of the underlying motivations and turning points of his career.

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Nolette, Nicole. "Lauren Godbout, Louise Ladouceur, Gratien Allaire. Plus d’un siècle sur scène! Histoire du théâtre francophone en Alberta de 1887 à 2008." Theatre Research in Canada 35, no. 2 (May 16, 2014): 281–83. http://dx.doi.org/10.3138/tric.35.2.281.

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Sewitch, Maida J., Robert Hilsden, Lawrence Joseph, Linda Rabeneck, Lawrence Paszat, Alain Bitton, and Mary Anne Cooper. "Qualitative Study of Physician Perspectives on Classifying Screening and Nonscreening Colonoscopy using Administrative Health Data: Adding Practice Does Not Make Perfect." Canadian Journal of Gastroenterology 26, no. 12 (2012): 889–93. http://dx.doi.org/10.1155/2012/176714.

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BACKGROUND: Previously developed screening colonoscopy algorithms based on diagnostic and endoscopy procedural variables have not been sufficiently accurate for use in epidemiological and health services research.OBJECTIVE: To increase understanding of the administrative health database variables that could help to discern screening and nonscreening colonoscopy.METHODS: A qualitative study using physician focus groups was conducted in Montreal (Quebec), Calgary (Alberta) and Toronto (Ontario). Specialty-specific focus group sessions were held among family physicians and gastroenterologists – the physicians responsible for referring patients to and performing screening colonoscopy, respectively. Interview guides were developed to better understand physician clinical and billing practices. Discussions were audiotaped, transcribed verbatim and analyzed using the constant comparative approach.RESULTS: Forty family physicians and seven gastroenterologists participated in five focus group sessions. Patient variables included demographics (age) and medical history (colorectal cancer risk factors/symptoms, medication for colorectal cancer risk factors/symptoms, gastrointestinal disorders, severe disease). Clinical practice variables included timing of the colonoscopy (evenings, weekends, holidays, during hospitalization; same-day endoscopist consultation and colonoscopy), use of services (hospitalization, annual examination, transfer from other facility) and procedure use patterns (large bowel or other medical/surgical procedure before and subsequent to colonoscopy). However, wide variability in clinical and billing practices will likely preclude the development of a reasonably accurate screening colonoscopy algorithm. Physicians suggested adding a screening colonoscopy code to the administrative health data.CONCLUSIONS: Failure to acknowledge the limitations of the provincial administrative health databases to identify screening colonoscopy may lead to incorrect conclusions and the establishment of inappropriate health care policies.

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Sinclair, S., and S. W. Gouglas. "Theory into Practice: A Case Study of the Humanities Computing Master of Arts Programme at the University of Alberta." Arts and Humanities in Higher Education 1, no. 2 (October 1, 2002): 167–83. http://dx.doi.org/10.1177/1474022202001002004.

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Witko, Kim D., Kerry B. Bernes, Kris C. Magnusson, and Angela D. Bardick. "Senior high students’ career plans for the future: outcomes of the comprehensive career needs survey in Southern Alberta, Canada." International Journal for Educational and Vocational Guidance 6, no. 2 (October 3, 2006): 77–94. http://dx.doi.org/10.1007/s10775-006-9103-3.

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Adams, Annmarie. "Review: Homes in Alberta: Building, Trends, and Design 1870-1967 by Donald G. Wetherell, Irene R. A. Kmet." Journal of the Society of Architectural Historians 52, no. 2 (June 1, 1993): 228–30. http://dx.doi.org/10.2307/990791.

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Foster, Susan Leigh. "WATCHING WOMAN AND WATER." Theatre Survey 51, no. 1 (April 26, 2010): 121–25. http://dx.doi.org/10.1017/s0040557410000256.

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I am being haunted by a dance I saw more than a year ago. Ever since it was performed as part of the Actions of Transfer: Women's Performance in the Americas conference at UCLA in November 2008, I have been reviewing it in my mind every few weeks. I am unsettled by its seeming simplicity and by the integrity and power that this simplicity conveys. Therefore I am writing not about a work I have just seen, but rather one I have been rewatching for several months. The dance, titled Woman and Water, was created and performed by Alutiiq artist Tanya Lukin Linklater. It premiered on 22 May at Visualeyez 2006, Canada's seventh annual festival of performance art, produced by Latitude 53 Contemporary Visual Culture; the festival's theme was “Domesticity,” and it was curated by founder Todd Janes in Edmonton, Alberta. When she was invited to UCLA, Lukin Linklater inquired about the availability of water near the conference where the piece might be performed, and, upon seeing the site, determined to stage the work in the plaza in front of Royce Hall, which is adjacent to a large fountain. This is what I remember watching:

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Lord, Jason A., Danny J. Zuege, Maria Palacios Mackay, Amanda Roze des Ordons, and Jocelyn Lockyer. "Picking the Right Tool for the Job: A Reliability Study of 4 Assessment Tools for Central Venous Catheter Insertion." Journal of Graduate Medical Education 11, no. 4 (August 1, 2019): 422–29. http://dx.doi.org/10.4300/jgme-d-19-00107.1.

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ABSTRACT Background Determining procedural competence requires psychometrically sound assessment tools. A variety of instruments are available to determine procedural performance for central venous catheter (CVC) insertion, but it is not clear which ones should be used in the context of competency-based medical education. Objective We compared several commonly used instruments to determine which should be preferentially used to assess competence in CVC insertion. Methods Junior residents completing their first intensive care unit rotation between July 31, 2006, and March 9, 2007, were video-recorded performing CVC insertion on task trainer mannequins. Between June 1, 2016, and September 30, 2016, 3 experienced raters judged procedural competence on the historical video recordings of resident performance using 4 separate tools, including an itemized checklist, Objective Structured Assessment of Technical Skills (OSATS), a critical error assessment tool, and the Ottawa Surgical Competency Operating Room Evaluation (O-SCORE). Generalizability theory (G-theory) was used to compare the performance characteristics among the tools. A decision study predicted the optimal testing environment using the tools. Results At the time of the original recording, 127 residents rotated through intensive care units at the University of Calgary, Alberta, Canada. Seventy-seven of them (61%) met inclusion criteria, and 55 of those residents (71%) agreed to participate. Results from the generalizability study (G-study) demonstrated that scores from O-SCORE and OSATS were the most dependable. Dependability could be maintained for O-SCORE and OSATS with 2 raters. Conclusions Our results suggest that global rating scales, such as the OSATS or the O-SCORE tools, should be preferentially utilized for assessment of competence in CVC insertion.

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Fitzsimmons Frey, Heather, and Tania Gigliotti. "Let’s Do the Time Warp Again: Youth Interpreters at Fort Edmonton Park Performing Possibilities across Time." Theatre Research in Canada 42, no. 2 (October 1, 2021): 243–63. http://dx.doi.org/10.3138/tric.42.2.a05.

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Dans cet article, Heather Fitzsimmons Frey et Tania Gigliotti cherchent à voir comment les prestations données par les jeunes dans un musée d’histoire vivante encouragent les gens à reconcevoir le passé de manière à y inscrire des futurs potentiels, une agence, des choix et des changements. Leur recherche est basée sur des entretiens effectués auprès de jeunes bénévoles travaillant à Fort Edmonton Park (Edmonton, Alberta) dans le cadre du projet Young People are the Future (2019-20). Ces bénévoles ont été appelés à explorer ce que signifie représenter l’avenir tel que le veulent les discours populaires tout en interprétant le passé colonial d’Edmonton en lien avec les Premières Nations. Fitzsimmons Frey et Gigliotti se servent de constructions culturelles historiques et contemporaines de « la jeunesse » et de « l’adolescence » (Alexander, Comacchio, Harris, Ishiguro, Lesko, van de Water), de cadres empruntés au domaine des études sur l’âge (Gullette, Henderson, Twigg, Woodward), de la théorie brechtienne (Diamond) et de notions liées à la nostalgie (Goulding, Heddon) pour examiner comment les spectacles de reconstitution et les musées d’histoire réussissent à créer un temps non linéaire et syncopé (Schneider). Les jeunes interprètes du parc ouvrent un espace de réflexion critique sur le choix intentionnel dans un lieu qui pourrait être perçu comme étant enraciné et fixe. Soutenus par une souplesse au niveau du style d’interprétation, leurs tenues historiques, le travail sur leur personnage, leurs rapports avec leurs collègues et le pouvoir d’injecter des histoires dans le récit historique qu’ils interprètent, les jeunes bénévoles montrent que le passé peut faire preuve d’autant de souplesse que le peut l’avenir.

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Wytsma-Fisher, Kathryn, Stefan Mustata, Theresa Cowan, Manuel Ester, and S. Nicole Culos-Reed. "A Physical Activity Intervention Feasibility Study for Kidney Inpatients: A Basic Research Protocol." Canadian Journal of Kidney Health and Disease 8 (January 2021): 205435812098705. http://dx.doi.org/10.1177/2054358120987052.

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Background: Low physical activity levels and poor physical functioning are strongly associated with poor clinical outcomes and mortality in adult kidney failure patients, regardless of treatment modality. Compared with the general population, individuals with chronic kidney disease are physically inactive, have reduced physical abilities and difficulties performing routine daily tasks, lower health-related quality of life, and higher cardiovascular morbidity and mortality. In addition, frail kidney failure patients have higher hospitalization and mortality rates as compared with other kidney failure patients. Evidence suggests that assessment and recommendations for physical activity should be part of standard care for kidney failure patients. Structured exercise can improve physical function and quality of life in frail older adults and may be used specifically for management of frailty in kidney failure. However, research is needed to determine best practices for implementation of physical function measurements and physical activity promotion in standard kidney failure care. Objective: The proposed Move More study will assess the feasibility of a physical activity intervention offered to the kidney failure inpatients in Calgary, Alberta. Specifically, this study is designed to examine the effects of an early physical activity/mobility intervention led by a kinesiologist, and supported by the clinical care team including physiotherapists (PT) and nurse clinicians. Methods: The Move More study is a single-arm pilot intervention examining feasibility and optimal improvement in real-world conditions. Kidney failure inpatients at the Foothills Medical Centre will be recruited to participate. Patients will receive an individualized in-hospital physical activity/mobility intervention. Frailty and physical function will be assessed at baseline and postintervention prior to hospital discharge. The goal is to recruit 24 to 36 patients. Conclusions: Evidence needed to support the inclusion of mobility and physical activity as part of standard care will be gathered, with knowledge gained used to help direct future physical activity programming for kidney failure inpatients.

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VandenBerg, S., G. Harvey, J. Martel, S. Gill, and J. McLaren. "MP29: Community based naloxone usability testing." CJEM 21, S1 (May 2019): S52—S53. http://dx.doi.org/10.1017/cem.2019.164.

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Background: In Alberta in 2016 more people died from an opioid overdose than from motor vehicle crashes. Naloxone is an opioid antagonist - it can reverse an opioid overdose for a period of 30 to 60 minutes. Naloxone kits are available free at emergency departments and community organizations around the province with training provided at the point of pickup. It is possible that training may be refused or may be forgotten and people are often left to rely solely on the instructions included in the kit. Human centred design can improve the way people interact with overdose instructions. Aim Statement: This study will measure the effectiveness and usefulness of prototype community naloxone kit instructions over a six month period of time (2018) in Calgary and Edmonton with the aim to use human centred design principles to improve the way people interpret emergency overdose response directions. Measures & Design: Information design experts engaged people with lived experience to provide a process map outlining the current role that educational materials and instructions for community naloxone kits play in responding to an opioid overdose. Alberta Health Services (AHS) Human Factors, in collaboration with AHS harm reduction developed the protocol and administered pre- and post-questionnaire and specific ‘performance checkpoints’ intended to measure effectiveness and usefulness. A simulated overdose including a mannequin, injection trainer and anatomical paper diagram was designed and a community naloxone kit with instructions setting was provided. Participants were recruited through harm reduction nurses with pre-existing clinical relationships (experienced group), family and friends of people who use opioids and general public (non-experienced) through the University of Alberta Faculty of Art and Design. Evaluation/Results: A total of 30 voluntary participants provided their informed consent and engaged in a simulated overdose scenario using a set of prototype instructions developed by a professional information designer. Through repeated data sampling, the following points were observed and will be integrated in the next iteration of design: It isn't clear to people what opioids are. It isn't clear to people that giving a dose of naloxone will not harm a person, especially if they have not overdosed. Almost none of the participants called 911. People seem to read pictures and text equally in the non-experienced group, but in the experienced group, typically read the pictures. Many participants stated that they knew how to do rescue breaths, but did not perform them correctly. Performing the procedure is a not the same as being asked about how to perform the procedure. Discussion/Impact: Even with new instructional prototypes, many participants identified components that were unclear or confusing. The experienced group made less mistakes than the non-experienced group. They seemed to be more invested or interested in saving a friend's life. These instructions will go through another round of design to incorporate feedback from end users. The final product will be part of a larger provincial emergency medicine initiative that includes participant led design and education around emergency response in opioid overdose settings.

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Alagic, M. "Innovations in mathematics education via the arts BIRS Workshop 07w5062 22–26 January 2007 Banff, Alberta, Canada." Journal of Mathematics and the Arts 1, no. 3 (September 2007): 203–7. http://dx.doi.org/10.1080/17513470701585977.

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Collins, Susan M. "Kunaitupii: Coming Together on Native Sacred Sites—Their Sacredness, Conservation and Interpretation. Brian O. K. Reeves and Margaret A. Kennedy, editors. Proceedings of the First Joint Meeting of the Archaeological Society of Alberta and the Montana Archaeological Society, Archaeological Society of Alberta, Calgary, 1993. viii + 363 pp., illustrations. $19.95 (paper)." American Antiquity 60, no. 2 (April 1995): 374–76. http://dx.doi.org/10.2307/282150.

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