Relevant bibliographies by topics / The Floating Opera

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

Academic literature on the topic 'The Floating Opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "The Floating Opera"

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Folks, Jeffrey J., and Jhon Barth. "Once upon a Time: A Floating Opera." World Literature Today 69, no. 2 (1995): 359. http://dx.doi.org/10.2307/40151219.

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2

Couturier, Maurice. "From Displacement to Compactness: John Barth'sThe Floating Opera." Critique: Studies in Contemporary Fiction 33, no. 1 (September 1991): 3–21. http://dx.doi.org/10.1080/00111619.1991.9933816.

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Koh,Ji-Moon. "Beyond an Unpredictable Self: Based on The Floating Opera." English & American Cultural Studies 11, no. 3 (December 2011): 25–55. http://dx.doi.org/10.15839/eacs.11.3.201112.25.

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Conti, Chris. "Irony, Cynicism and Satire in The Floating Opera." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 61, no. 4 (2005): 127–60. http://dx.doi.org/10.1353/arq.2005.0001.

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Robertson, Marta. "Floating Worlds: Japanese and American Transcultural Encounters in Dance." Congress on Research in Dance Conference Proceedings 2014 (2014): 126–35. http://dx.doi.org/10.1017/cor.2014.18.

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The repurposed metaphor “floating worlds,” from Japanese woodblock prints, highlights political junctions when transcultural American and Japanese dance collide and reconfigure. The first “floating world” is an “Ethiopian Concert” presented by Commodore Matthew Perry's Japanese Olio Minstrels in celebration of The Treaty of Peace and Amity (1854). The second challenges nostalgic Western notions of an “Old Japan” through the aggressively westernized Tokyo School of Music, where modern dancer Michio Ito trained for an opera career. Third, a post–World War I Peace Festival in Washington, DC, which included Ito's “eccentric dances,” documents an early Japanese diaspora within mainstream America. The final “floating world” conversely locates transcultural America outside of the United States through Ito's “Spirit of ’76” spectacle, staged for Occupied Forces following his unjust deportation to Japan. I apply analytical concepts of transcultural historians to imagine a global past that is less recognized, but no less nuanced, than the global present.
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Aloy, Jorge. "Suicide in John Barth’s The floating opera: contrast between the apocalyptic and the existentialist perspectives." Logos: Revista de Lingüística, Filosofía y Literatura 25, no. 2 (November 2015): 125–30. http://dx.doi.org/10.15443/rl2511.

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Bowen, Zack. "Setting the MoUbius Strip Straight: John Barth'sOnce Upon a Time: A Floating Opera." Critique: Studies in Contemporary Fiction 40, no. 3 (January 1999): 195–202. http://dx.doi.org/10.1080/00111619909604905.

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Окунева, Е. Г. "Rhythm in the Works of Luigi Dallapiccola." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 6–24. http://dx.doi.org/10.26156/om.2020.12.1.001.

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Творчество Луиджи Даллапикколы 1950-1960-х годов отмечено активными экспериментами в области метра и ритма. У композитора сложилась концепция так называемого плавающего ритма (schwebender Rhythmus). В статье данное понятие интерпретируется как связанное со свободной метрикой, ритмической нерегулярностью, безакцентностью. К комплексу приемов, способствующих нарушению метроритмического равновесия, автор относит вуалирование сильных долей, использование внутритактовых и межтактовых синкоп, добавочной длительности, полиметрию. Принципы композиторской работы с ритмом демонстрируются на примере отдельных сочинений 1950-1960-х годов: Музыкальной тетради Анналиберы , вокальных циклов Песни на стихи Гёте и Пять песен , концерта для виолончели с оркестром Диалоги , оперы Улисс . Даллапиккола синтезирует достижения старых мастеров полифонии и композиторов новой венской школы. Он автономизирует звуковысотные и ритмические каноны, оперирует длительностями как конструктивными элементами, работает с ритмическими ячейками как синтаксическими единицами, ищет эквивалент звуковысотной инверсии в ритмическом параметре путем обращения долгих длительностей в короткие и наоборот. Автор проводит параллели между ритмическим мышлением Даллапикколы и ритмическими идеями Мессиана, Булеза, других сериальных композиторов. Прослеживается тенденция к усложнению ритмических структур: Даллапиккола обращается к разнообразным способам числовой организации ритма и наделяет его образно-символическим смыслом. The work of Luigi Dallapiccola of the 19501960s is characterized by active experiments in the field of meter and rhythm. The composer has developed the concept of the socalled floating rhythm (schwebender Rhythmus). In the article, this concept is interpreted as associated with a free metric, rhythmic irregularity, and lack of focus. The complex of techniques mentioned by the author as contributing to violation of the metro-rhythmic equilibrium, includes the veiling of accented beats, the use of in-bar and inter-bar syncopes, additional duration, polymetry. The principles of composers work with rhythm are demonstrated by particular compositions of the 19501960s: Quaderno musicale di Annalibera Musical Notebook of Annalibera, the vocal cycles Goethe-Lieder and Cinque canti, Five Songs, the concert for cello and orchestra Dialoghi Dialogues, and the opera Ulisse. Dallapiccola synthesizes the achievements of ancient polyphony and composers of the new Viennese school. It autonomizes pitch and rhythmic rules, operates with du-rations as constructive elements, works with rhythmic cells as syntactic units, searches for the equivalent of pitch inversion in the rhythmic parameter by converting long dura-tions into short ones and vice versa. The author draws parallels between the rhythmic thinking of Dallapiccola and the rhythmic ideas of Messian, Boulez and other compos-ers-serialists. There is a tendency toward complication of rhythmic structures: Dallapiccola re-fers to various methods of numerical organization of rhythm and gives it figurative and symbolic meaning.
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9

Haładewicz-Grzelak, Małgorzata. "Dynamika dośrodkowa i odśrodkowa głównych symboli Judaizmu jako hieratycznych znaczników: studium semiotaktyczne." Półrocznik Językoznawczy Tertium 7, no. 2 (February 6, 2023): 98–139. http://dx.doi.org/10.7592/tertium.2022.7.2.219.

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Artykuł skupia się na omówieniu semiotycznej wyrazistości hieratycznych znaczników judaizmu w postaci Menory i Gwiazdy Dawida. Są one z konieczności pozycjonowane wobec ogółu symboliki judaistycznej, jak na przykład semiotycznej obecności Hamsy, która nie jest jednak znacznikiem hieratycznym Analiza opiera się na dwóch (iluzorycznych) przeciwstawnych siłach, które były już również szeroko stosowane do analizy zjawisk językowych: odśrodkowej i dośrodkowej. Ujmując je jako preferencje implikacyjne operujące na badanych obszarach semiosfery, proponuję odpowiednio funkcjonalną i strukturalną kategoryzację badanych znaków. Korpus analityczny do badań został zebrany w różnych krajach Europy i Maroku w latach 2010-2022 i składa się z cyfrowej dokumentacji setek egzemplarzy napotkanych judaików oraz konkatenacji symboli judaizmu w kontekstach pragmatycznych. Dyskusja jest również indeksowana przez kulturową diadę sacrum/profanum. Wyniki wskazują na pewne synchroniczne procesy, którym poddawany jest ten rodzaj znakowości, m.in. proces usilnienia Magen David (kierunek odśrodkowy – dyfuzyjny), z jednoczesną lenicją menory (kierunek dośrodkowy - konfuzyjny, wiążący). Jako próba interpretacji postuluję Gwiazdę Dawida jako pływającą(‘floating’) semiotaktyczną pierwszą.
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Fick, Virginia, Reeves Hamilton, Kristen Harmon, Willoughby Johnson, Diedre Kindsfather, Mike Land, Speer Morgan, et al. "St. Burl's Obituary, and: Generations of Winter, and: Morning in the Burned House, and: Rule of the Bone, and: Once Upon a Time: A Floating Opera, and: Painted Desert, and: Name Dropping: Tales from My Barbary Coast Saloon, and: Asian-Pacific Folktales and Legends, and: Harriet Beecher Stowe: A Life, and: Practical Magic." Missouri Review 19, no. 1 (1996): 176–89. http://dx.doi.org/10.1353/mis.1996.0010.

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Dissertations / Theses on the topic "The Floating Opera"

1

Mazaki, Fatima Zahra. "Étude narrative de The Floating opera, Lost in the funhouse et Chimera de John Barth." Paris 4, 1995. http://www.theses.fr/1995PA040077.

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Cette recherche étudie la forme narrative dans The Floating opera, Lost in the funhouse et Chimera de John Barth. La première partie de cette étude traite du problème de la communication et du rôle du narrataire, adressé comme you, dans l'organisation du passe de Todd Andrews: narrateur à la première personne de The Floating opera. La deuxième partie est consacrée à l'analyse des labyrinthes dans Lost in the funhouse. Parmi les principaux éléments qui constituent les labyrinthes verbaux, nous avons discuté les "blancs" et les lacunes. Quant aux labyrinthes structuraux, ils sont créés par le point de vue, l'allusion et la ponctuation. La troisième partie traite des trois novellas de Chimera. Dans chaque novella, Barth, narrateur des histoires à la première personne, parodie les éléments traditionnels de la fiction et essaie de trouver de nouvelles formes du récit
This thesis studies the narrative form in John Barth's The Floating opera, Lost in the funhouse and Chimera. The first chapter examines the problem of communication and the role played by the narratee, addressed as "you", in the organization of the past of Todd Andrews: first person narrator of The Floating opera. The second chapter discusses Barth's use of labyrinths in Lost in the funhouse. Blanks and lacunae are the most two important verbal labyrinths. The other narrative devices to create structural labyrinths are point of view, punctuation and allusion. The third chapter studies the three novellas of Chimera. In each novella, Barth, speaking as first person narrator, parodies point of view, characterization, plot and setting, and tries to discover new forms of narrative
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2

Reed, Mark Dobson. "The Role of Popular Mythology and Popular Culture in Post-war America, as represented by four novels - The Floating Opera and The End of the Road, by John Barth, White Noise, by Don DeLillo, and Vineland, by Thomas Pynchon." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/627.

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The four novels - The Floating Opera, The End of the Road, White Noise, and Vineland - are representative of the cultural shift away from traditional moral concepts after World War II. Popular culture has increasingly become the guiding force for the continuation of American society, and in Don DeLillo�s White Noise, popular culture and its creation of myth (according to the author�s representation of America) has become embedded in the system and life of contemporary America. John Barth�s novel The End of the Road and its predecessor The Floating Opera are important in any discussion of the role of popular culture and popular mythology in post-war America. They both appear to signal an end to sincere intellectual thought or debate, and the notion of imposing a rational moral world upon the social landscape surrounding the individual. The Floating Opera explores the common tendency of society to avoid difficult intellectual struggles, and the central character and first-person narrator ultimately realises that questions about the nature of existence are of no objective value. In The End of the Road the character Jacob Horner adopts a superficial reflection of pre-existing rules and social conventions. Together these novels reflect much of what is at present understood as the postmodern aesthetic, and are indicative of many of the changes in America that were about to occur. The Floating Opera was published in 1956 and The End of the Road was published in 1958, but they are still highly relevant beyond the period in which they were written. White Noise (1984) portrays a system founded on the Hollywood mythology, and the superficial reflection of pre-existing rules and social conventions found in The End of the Road. The novel revolves around the experiences of the narrator, Jack Gladney, a university lecturer who teaches Hitler studies at Blacksmith College, and his wife Babette. The course which he teaches on Hitler is influenced by Hollywood myth, and the novel portrays a consumer-based society that has lost much of the firm moral basis which traditional religious concepts formerly supplied. The role of television, Hollywood, and the idea of simulation are all explored throughout the novel and are important forces in any examination of post-war American society. Finally, in Vineland (1990) the social upheavals which occurred during the late �60s and early �70s are explored from the perspective of the 1980s. The novel refers to a vast array of images and icons from popular culture, and the brief youth rebellion, in the late �60s, which failed to inspire any final social revolution. The result of this failed social revolution is a landscape of popular culture in modern America, where Godzilla leaves footprints in Japan and popular mythology from television or pulp novels coincides with everyday life. There are references in typical Pynchonesque fashion to those who must necessarily be orchestrating these social and cultural alterations, but they, as specific individuals, remain anonymous or hidden from the scope of the author (although, as in White Noise, there are deliberate references to the CIA and other agencies or departments within the U.S. Federal Government). Vineland is important, therefore, both as an account of the social changes which occurred in America between the late �60s and �80s, and the increasing role of popular culture in America. These four novels form the basis of an exploration of the role of popular mythology and popular culture in post-war America. They form a clear progression, and allow a detailed analysis of the social and cultural changes which contemporary America has undergone since the end of World War II.
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Reed, Mark Dobson. "The Role of Popular Mythology and Popular Culture in Post-war America, as represented by four novels - The Floating Opera and The End of the Road, by John Barth, White Noise, by Don DeLillo, and Vineland, by Thomas Pynchon." University of Sydney. English, 2004. http://hdl.handle.net/2123/627.

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The four novels - The Floating Opera, The End of the Road, White Noise, and Vineland - are representative of the cultural shift away from traditional moral concepts after World War II. Popular culture has increasingly become the guiding force for the continuation of American society, and in Don DeLillo�s White Noise, popular culture and its creation of myth (according to the author�s representation of America) has become embedded in the system and life of contemporary America. John Barth�s novel The End of the Road and its predecessor The Floating Opera are important in any discussion of the role of popular culture and popular mythology in post-war America. They both appear to signal an end to sincere intellectual thought or debate, and the notion of imposing a rational moral world upon the social landscape surrounding the individual. The Floating Opera explores the common tendency of society to avoid difficult intellectual struggles, and the central character and first-person narrator ultimately realises that questions about the nature of existence are of no objective value. In The End of the Road the character Jacob Horner adopts a superficial reflection of pre-existing rules and social conventions. Together these novels reflect much of what is at present understood as the postmodern aesthetic, and are indicative of many of the changes in America that were about to occur. The Floating Opera was published in 1956 and The End of the Road was published in 1958, but they are still highly relevant beyond the period in which they were written. White Noise (1984) portrays a system founded on the Hollywood mythology, and the superficial reflection of pre-existing rules and social conventions found in The End of the Road. The novel revolves around the experiences of the narrator, Jack Gladney, a university lecturer who teaches Hitler studies at Blacksmith College, and his wife Babette. The course which he teaches on Hitler is influenced by Hollywood myth, and the novel portrays a consumer-based society that has lost much of the firm moral basis which traditional religious concepts formerly supplied. The role of television, Hollywood, and the idea of simulation are all explored throughout the novel and are important forces in any examination of post-war American society. Finally, in Vineland (1990) the social upheavals which occurred during the late �60s and early �70s are explored from the perspective of the 1980s. The novel refers to a vast array of images and icons from popular culture, and the brief youth rebellion, in the late �60s, which failed to inspire any final social revolution. The result of this failed social revolution is a landscape of popular culture in modern America, where Godzilla leaves footprints in Japan and popular mythology from television or pulp novels coincides with everyday life. There are references in typical Pynchonesque fashion to those who must necessarily be orchestrating these social and cultural alterations, but they, as specific individuals, remain anonymous or hidden from the scope of the author (although, as in White Noise, there are deliberate references to the CIA and other agencies or departments within the U.S. Federal Government). Vineland is important, therefore, both as an account of the social changes which occurred in America between the late �60s and �80s, and the increasing role of popular culture in America. These four novels form the basis of an exploration of the role of popular mythology and popular culture in post-war America. They form a clear progression, and allow a detailed analysis of the social and cultural changes which contemporary America has undergone since the end of World War II.
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4

Moilanen, J. (Jussi). "John Barthin The Floating Operan ja The End of the Roadin bahtinilainen polyfonia eksistentialistisen maailmankuvan ilmentäjänä." Master's thesis, University of Oulu, 2015. http://urn.fi/URN:NBN:fi:oulu-201504021297.

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Tutkielmassani käsittelen amerikkalaiskirjailija John Barthin teoksia The Floating Opera (1956) ja The End of the Road (1958). Työssäni osoitan, kuinka teosten bahtinilainen polyfonia ilmentää eksistentialistisen etsinnän ajatusta. Väitän, että Barthin teokset yhtä aikaa parodioivat ja korostavat eksistentialistista ajattelua. Näen, että tämä eksistentialistisen etsinnän ajatus ilmenee tekstin lisäksi myös teosten muodon tasolla. Tutkimukseni pääajatuksen voi kiteyttää muotoon muoto on merkitys. Käytän työni teoreettisena viitekehyksenä neuvostoajattelija Mihail Bahtinin teoksia Dostojevskin poetiikan ongelmia (1929) ja François Rabelais: Keskiajan ja renessanssin nauru (1965) ja näitä kahta teosta kommentoivia tekstejä kuten Julian Kristevan artikkelia ”Word, Dialog and Novel” (1986), Michael Bernsteinin Bitter Carnival — Ressentiment and The Adject Hero (1992), Sue Vice teosta Introducing Bakhtin (1997) sekä Sari Salinin Narri kertojana — Kultaisesta aasista suomalaiseen postmodernismiin (2008). Hyödynnän työssäni eteenkin kirjallisen polyfonian, dialogisuuden, karnevalismin ja intertekstuaalisuuden käsitteitä. Vertaan Barthin töitä myös Kurt Vonnegutin teoksiin Teurastamo 5 eli lasten ristiretki (1969) ja Mestarien aamiainen (1973) sekä Milan Kunderan romaaneihin Naurun ja unohduksen kirja (1978) ja Olemisen sietämätön keveys (1984). Otan tarvittaessa myös muita esimerkkejä kaunokirjallisuudesta Työni toisena suurena viitekehyksenä käytän eksistenssifilosofiaa. Eksistentialisti kirjailijoista ja filosofeista nostan esiin Søren Kierkegaardin, Friedrich Nietzschen, Fjodor Dostojevskin, Albert Camus’n ja Jean Paul Sartren. Vertaan heidän ajatuksiaan Barthin teosten henkilöiden ajatuksiin. Hyödynnän aihealueen klassikkojen kuten Kierkegaardin Pätevä epätieteellinen jälkikirjoitus (1844), Nietzschen Hyvän ja pahan tuolla puolen (1886) ja Moraalin alkuperä (1887) sekä Camus’n Sysifoksen myyti (1942) ja Kapinoivan ihmisen (1951) lisäksi Torsti Lehtisen yleisteosta Eksistentialismi: Vapauden filosofia (2002) ja Richard Appignanesin teosta Mihin uskovat eksistentialistit (2006). Lisäksi lainaan tutkimuksessani Lehtisen teosta Søren Kierkegaard — Intohimon, ahdistuksen ja huumorin filosofi (1990). Olen myös pohtinut Bahtinin ajattelun eksistentialistisia ulottuvuuksia Tzetan Todorovin, Terry Eagletonin ja Ann Jeffersonin aihetta kommentoivien tekstein kautta. Lähiluvun kautta löydän ja analysoin tutkimuksessani The Floating Operan ja The End of the Roadin kohtia ja piirteitä, jotka ilmentävät kirjallista polyfoniaa. Olen jaotellut nämä piirteet analyysiosiossani teosten väliseen dialogisuutteen, tekstilajien kirjon ja tyyli inkonsistenssiin ilmentämään kognitiiviseen dissonanssiin sekä karnevalistisiin piirteisiin. Tekstien välisessä dialogisuudessa analysoin, kuinka Barthin teoksien välille luodaan dialogisuutta käsittelemällä samoja asioita. Kummatkin kohdeteokseni käsittelevät muun muassa aviorikosta ja sitä seurannutta raskautta, ihmisten rooleja sekä suhtautumista värillisiin ihmisiin. Erittelen The Floating Operan tyylin inkonsistenssia eli rikkonaisuutta ja nostan esiin karnevalistisia kohtia kummastakin kohdeteoksestani. Tämän lisäksi analysoin työssäni Barthin teosten intertekstuaalisuutta, joka Kristevan mukaan olennainen osa polyfoniaa. Osoitan The Floating Operan tärkeimmiksi interteksteiksi Hamletin (1603), Sysifoksen myytin, Homeroksen Odysseian (750–650 eaa.), Machado de Assisin teokset The Epitaph of a Small Winnerin (1880) sekä Joycen Odysseuksen (1922), kun taas The End of the Roadin kohdalla keskiöön nousevat Kapinoiva ihminen, raamatulliset tekstit, Ilias (750–650 eaa.) ja de Assisin Philosopher or dog? (1892). Kohdetekstieni yhteisiksi tyylillisiksi kanssateksteiksi tulkitsen Sternen Tristram Shandyn — Tristram Shandy — elämä ja mielipiteet (1759–1767) ja Dostojevskin Kirjoituksia kellarista (1834). Tutkimuksessani todistan, että Barthin teokset kyseenalaistavat ja naurullistavat Camus’n Sysifoksen myytissä ja Kapinoivassa ihmisessä esittämät ajatukset ja muuttavat niiden dogmaattisuutta suhteellistavaan, ambivalenttiin suuntaan. Näin The Floating Opera ja The End of the Road tuo Sartren ja Camus’n modernia eksistentialismia kohti Kierkegaardin, Nietzschen ja Dostojevskin polyfonista eksistentialismia, jossa matka on itse määränpää.
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Books on the topic "The Floating Opera"

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John, Barth. Once upon a time: A floating opera. London: Sceptre, 1994.

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Once upon a time: A floating opera. Boston: Little, Brown, 1994.

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John, Barth. Once upon a time: A floating opera. London: Sceptre, 1995.

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1930-, Barth John, ed. The floating opera and The end of the road. New York: Anchor Press, 1988.

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Floating Opera. Columbia University Press, 2015.

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Once Upon a Time: A Floating Opera. Back Bay Books, 1995.

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Once upon a Time - a Floating Opera. Dalkey Archive Press, 2016.

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Barth, John. The Floating Opera and The End of the Road. Anchor, 1997.

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Book chapters on the topic "The Floating Opera"

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"2. The Floating Opera (1956): Beginning with Almost-Death." In John Barth and the Anxiety of Continuance. Philadelphia: University of Pennsylvania Press, 1992. http://dx.doi.org/10.9783/9781512808032-004.

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Cordesse, Gérard. "Binarité, linéarité, multiplicité dans "Calliope Music", The Floating Opera." In Les fictions du réel dans le monde anglo-américain de 1960 à 1980, 71–82. Presses universitaires François-Rabelais, 1988. http://dx.doi.org/10.4000/books.pufr.3811.

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"The supra-existentialist novel: The Floating Opera and The End of the Road." In John Barth (Routledge Revivals), 19–30. Routledge, 2014. http://dx.doi.org/10.4324/9781315737553-11.

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Mavor, Denise Nelson. "A Teacher Learning about Adult Learning." In Learning Together. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195097535.003.0032.

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The approach of autumn puts me into a reflective mode, thinking about co-opers and their learning in their prior year in my classroom. One seems to be more relaxed about herself, her abilities, and her daughter’s. Another has really had great success with “I-messages” to handle problem solving in tense moments. I remember when a third didn’t really like a particular child; now look at them sitting together! I wish that I could have helped a fourth to understand my suggestions about how parents can be effective in the classroom. I inevitably end up with this final question: “How might I do things differently this year?” As a welcome breeze came through the west windows, blowing tenured milkweed seeds off the science shelf and into the classroom, I scanned the familiar circle of six-, seven-, and eight-year-olds and co-opers. I felt a warm smile growing on my face as my eyes lingered on Briand’s mother—I’ve been observing the confidence and patience Cindy has developed. She was sitting in circle, attentive to the children who had sighted the ghostly umbrella seeds suspended in air. The children had paused to inspect, capture, swat, and hail their arrival—loud enough to draw the entire class’s attention. “Cool!” “Don’t hit ‘em, you guys,” cautioned Keith. “They’re mine, remember? I brought them when school started.” “I caught one, Keith! Here, you can have it back,” Sarah said, modeling behavior for other classmates to follow. Circle was lively as the children caught the floating seeds and put them away. The last one landed on Cindy’s head. “There’s one in your hair, Mommy, I’ll get it.” Briand excitedly picked it from her mother’s hair and returned it to the science shelf. Cindy smiled through it all, having made progress in relaxing and enjoying the kids. . . . The Co-oping Commitment Develops into Conscious Co-oping . . . In August, when the teachers meet with the parent group to plan co-oping responsibilities, some parents who feel capable of teaching in a basic skills area, or at least feel adventurous, sign on to help teach one of those subjects.
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"Derrida, J. (1980) The Postcard: From Socrates to Freud and Beyond, Chicago: The University of Chicago Press, 1987, p.25 19 Tissue, from the early French tissu, woven 20 Text, from the Latin texere, to weave 21 Derrida, J. (1967) Form and meaning: a note on the phenomen­ ology of language. In J. Derrida, Margins of Philosophy, New York: Harvester Wheatsheaf, 1982, p.160 22 Derrida, J. The double session, Tel Quel, whole issues 41 & 42 23 Derrida, J. (1970) The double session. In Dissemination, op. cit., pp.173-285 24 Derrida, J. (1972) Tympan. In J. Derrida Margins of Philosophy, New York: Harvester Wheatsheaf, 1982, pp.ix-xxix 25 Ibid.,p.x 26 Kamuf, P. (ed) A Derrida Reader: Between the Blinds, New York: Harvester Wheatsheaf, p.146 27 Ibid.,p.l46 28 Derrida Glas, op. cit. 29 Kamuf, op. cit., p.315 30 Derrida Glas, op. Cit., p.1 31 Kamuf, op. cit., p.315 32 Barth, J. (1956) The Floating Opera, New York: Bantam, 1972, p.168." In Deconstructing Evidence-Based Practice, 30. Routledge, 2004. http://dx.doi.org/10.4324/9780203422311-10.

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Conference papers on the topic "The Floating Opera"

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Henriques, J. C. C., W. Sheng, A. F. O. Falcão, and L. M. C. Gato. "A Comparison of Biradial and Wells Air Turbines on the Mutriku Breakwater OWC Wave Power Plant." In ASME 2017 36th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/omae2017-62651.

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The Mutriku breakwater wave power plant is located in the Bay of Biscay, in Basque Country, Spain. The plant is based on the oscillating water column (OWC) principle and comprises 16 air chambers, each of them equipped with a Wells turbine coupled to an electrical generator with a rated power of 18.5 kW. The IDMEC/IST Wave Energy Group is developing a novel self-rectifying biradial turbine that aims to overcome several limitations of the Wells turbine, namely the sharp drop in efficiency above a critical flow rate. The new turbine is symmetrical with respect to a mid-plane perpendicular to the axis of rotation. The rotor is surrounded by a pair of radial-flow guide vane rows. Each guide vane row is connected to the rotor by an axisymmetric duct whose walls are flat discs. In the framework of the “OPERA” European H2020 Project, the new biradial turbine will be tested at Mutriku and later will be installed and tested on a floating OWC wave energy converter — the OCEANTEC Marmok-5’s — to be deployed at BiMEP demonstration site in September of 2017. The aim of the present paper is to perform critical comparisons of the performance of the new biradial and the Wells turbine that is presently installed at Mutriku. This is based on results from a time-domain numerical model. For the purpose, a new hydrodynamic frequency domain model of the power plant was developed using the well know WAMIT software package. This was used to build a time-domain model based on the Cummins approach.
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