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Книги з теми "STAR Collaboration"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: STAR Collaboration.

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 31 січня 2023

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1

Woods, Bob. Star Wars: the art of the brothers Hildebrandt. New York: Ballantine Pub. Group, 1997.

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2

Wang, Quan. Charge Multiplicity Asymmetry Correlation Study Searching for Local Parity Violation at RHIC for STAR Collaboration. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-00756-4.

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3

My lucky star: A novel. London: William Heinemann, 2006.

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4

My lucky star: A novel. New York: Little, Brown and Co., 2006.

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5

University of North Carolina at Chapel Hill. Smart Start Evaluation Team. Smart Start collaboration network analysis report. [Chapel Hill, N.C.]: FPG Child Development Center, 2000.

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6

Munsinger, Kim M. Collaborative law: Start to finish. Edited by State Bar of Texas. Austin, Texas: State Bar of Texas, 2014.

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7

Busacca, Maurizio, and Roberto Paladini. Collaboration Age. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-424-0.

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Анотація:

Recently, public policies of urban regeneration have intensified and multiplied. They are being promoted with the aim to start social and economic dynamics within the local context which is subject to intervention. From the empirical analysis, we realise that such activities are mainly implemented by three subjects or by mixed coalitions (public institutions, actors of the third sector and companies). Within them, each player is moved by a multiplicity of interests and goals that go beyond their own nature – public interest, market and mutualism – and tend to redefine themselves, thus becoming hybrid forms of production of value (social, economic, cultural). By studying a number Italian and Catalan cases, this essay deals with the theory that, under specific conditions and configurations, a collaborative direction – of organization, production and design – would give life to successful procedures, even without the identification of a one-best-way. The collaboration is not simply a choice of operation, but a real production method which mobilises social resources to create hybrid solutions – between state, market and society – to complex issues that could not be faced solely with the use of the rationale of action of one among the three actors. In this framework, the systems of relations and interactions between players and shared capital become an essential condition for the success of every initiative of urban redevelopment, or failure thereof. Such initiatives are brought to life by the strategic role of individuals who foster connections as well as the dissemination of non-redundant information between social networks, and collective and individual actors which would otherwise be separated and barely able to communicate and collaborate with each other. In addition to the functions carried out by knowledge brokers, that have been extensively described in organisational studies and economic sociology, the aforementioned figures act as real social enzymes, that is to say, they handle the available information and function as catalysts of social processes of production of knowledge. Moreover, they increase the reaction speed, working on mechanisms which control the spontaneity.

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8

Detter, Andrea E. Ventures: University of Washington start-up companies & collaborations. Seattle, WA: University of Washington, Office of Research, 2000.

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9

United States. Office of Child Support Enforcement. Child support, child care, and Head Start collaboration: Innovations & ideas. Washington, D.C.]: Dept. of Health and Human Services, Administration for Children and Families, Office of Child Support Enforcement, 2003.

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10

Health, Utah Department of. 2004 Utah Head Start-State Collaboration Office report and case study/process evaluation. Salt Lake City, UT: Utah Head Start-State Collaboration Office, 2004.

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11

LeBrasseur, Rolland. Assisting business start-ups in Northeastern Ontario: A collaborative approach. Sudbury, Ont: INORD, Laurentian University, 1998.

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12

Leading with emotional intelligence: Hands-on strategies for building confident and collaborative star performers. New York: McGraw-Hill, 2011.

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13

Verstraete, Pieter Jan. Trouw en Dietsch: Vlaamse leiders en hun collaboratie : Staf de Clercq en Hendrik Jozef Elias. Soesterberg: Aspekt, 2006.

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14

United States. Congress. Senate. Committee on Labor and Human Resources. Smart Start: The Community Collaborative For Early Childhood Development Act of 1989 : report together with minority views (to accompany S. 123). [Washington, D.C.?: U.S. G.P.O., 1989.

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15

START. Regional Meeting for Southeast Asia. Report from the START Regional Meeting for Southeast Asia: Arranged by the International Geosphere-Biosphere Programme a Study of Global Change (IGBP) in collaboration with the Human Dimensions of Global Environmental Change (HDGEC) Programme. Stockholm: IGBP, 1992.

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16

Caproni, Giorgio. Il Girasole. Edited by Giada Baragli. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-495-4.

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Анотація:

«Apriamo a caso il libro». È così che si eclissava tra il ’72 e il ’75 la voce-guida di Caproni per lasciare ad altri il microfono della trasmissione radiofonica «Il girasole». Una rubrica destinata alla divulgazione, trasmessa nelle ore di massimo ascolto del programma nazionale, con lo scopo di offrire ad un pubblico largo e diversificato una sorta di ‘sussidiario’ letterario che desse ai colti il piacere della rilettura e ai più giovani e sprovveduti quello della scoperta. Un grande poeta, Giorgio Caproni, aveva il compito di scegliere i passi da testi di ogni tempo e paese (poesia, narrativa, teatro…) e di collegarli tra loro con poche parole di presentazione in grado di ricreare un ambiente, un’epoca, insomma quanto sta intorno all’opera d’arte e la rende per tutti comprensibile e umana. È questa singolare avventura che – perduti/distrutti i materiali radiofonici – riusciamo infine a conoscere grazie all’attenta cura di Giada Baragli, che da copioni spesso lacunosi ha ricostruito il florilegio di un centinaio di brani che non solo offrono una preziosa antologia comparata della letteratura, ma ci parlano delle predilezioni e delle letture di uno straordinario, indimenticabile autore che ha anche collaborato con la radio.

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17

Resources, United States Congress Senate Committee on Labor and Human. Smart start: The Community Collaborative for Early Childhood Development Act of 1988 : hearings before the Committee on Labor and Human Resources, United States Senate, One Hundredth Congress, second session on S. 2270 ... February 23, May 11, and June 10, 1988. Washington: U.S. G.P.O., 1988.

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18

Kranjc, Gregor Joseph. Between the star and the swastika: Slovene collaboration and national identity, 1941--1945. 2006.

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19

Keenan, Joe. My Lucky Star. Little Brown & Company, 2009.

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20

Wang, Quan. Charge Multiplicity Asymmetry Correlation Study Searching for Local Parity Violation at RHIC for STAR Collaboration. Springer, 2013.

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21

Wang, Quan. Charge Multiplicity Asymmetry Correlation Study Searching for Local Parity Violation at RHIC for STAR Collaboration. Springer London, Limited, 2013.

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22

Wang, Quan. Charge Multiplicity Asymmetry Correlation Study Searching for Local Parity Violation at RHIC for STAR Collaboration. Springer, 2016.

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23

My Lucky Star. Penguin Random House, 2007.

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24

Keenan, Joe. My Lucky Star. Back Bay Books, 2006.

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25

Charge Multiplicity Asymmetry Correlation Study Searching for Local Parity Violation at RHIC for Star Collaboration Springer Theses. Springer International Publishing AG, 2013.

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26

The Head Start collaboration report. [Frankfort, Ky: Dept. of Education, 1992.

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27

Cottis, David. Towards a British Concept Musical. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.12.

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The three stage shows written in collaboration by Leslie Bricusse and Anthony Newley—Stop the World—I Want to Get Off (1961), The Roar of the Greasepaint, the Smell of the Crowd (1964), and The Good Old, Bad Old Days (1972)—are unlike anything that preceded them in the British musical theatre: minimalist, metatheatrical, drawing on contemporary developments in other arts, and ultimately dependent on the persona of Newley, their co-writer and star. This chapter examines the collaboration between Bricusse and Newley, its influences and legacy, as well as the work each did without the other—Newley’s history of musical autobiography and Bricusse’s many literary adaptations.

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28

United States. National Aeronautics and Space Administration., ed. Collaborative observations of HDE 332077. [Washington, DC: National Aeronautics and Space Administration, 1995.

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29

How to Start And Run a Writers' Critique Group. Stargazer Pub Co, 2006.

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30

Stead, Lisa. Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.001.0001.

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Анотація:

Reframing Vivien Leigh takes a fresh new look at one of the twentieth century’s most iconic stars. Focusing on Vivien Leigh as a distinctly archival subject, the book draws upon original oral history work with curators, archivists, and fan collectives and extensive research within a network of official and unofficial archives around the world to produce alternative stories about her place within film history. The study examines an intriguing variety of historical correspondence, costume, scripts, photography, props, and memorabilia in order to reframe the dominant narratives that have surrounded her life and career. While Leigh’s glamour, collaborations with Laurence Olivier, and mental health form important coordinates for any study of the star, the book foregrounds a range of alternative contexts that emphasize her creative agency, examining her off-screen labor in areas such as theatrical training, adaptation, war work, producing, protesting, and interactions with her fan base. Part I examines a variety of case studies of Leigh’s screen and stage craft as they emerge from the archive, looking at Leigh’s varied collaborations, her investment in faithful adaptations, and her vocal training. It interconnects star studies, feminist film studies, and performance studies to produce a new take on stardom as creative process rather than stardom as image. Part II turns toward unofficial archives and local museum collections, centering the work of the archivist and the amateur collector and their impact on women’s star histories. It explores Leigh’s archival afterlives as they are constructed by a range of agents and institutions beyond the “official” star archive.

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31

Joffe, Mark S. Collaboration with managed care organizations (Healthy start initiative). National Center for Education in Maternal and Child Health, 1997.

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32

Spiro, Neta, and Katie Rose M. Sanfilippo, eds. Collaborative Insights. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197535011.001.0001.

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Анотація:

This book provides insight informed by interdisciplinary thinking on musical care throughout the life course. Musical care refers to the role of music—music listening as well as music-making—in supporting any aspect of people’s developmental or health needs: for example, physical and mental health, cognitive and behavioural development, and interpersonal relationships. Musical care can be seen as relevant to several types of music, approach, setting and stages of the life course. By introducing the term musical care, the editors of this book prioritize the overlapping areas of practice, engagement, and research that are widely applicable rather than the boundaries between them. The life course structure, from infancy to end of life, highlights the changing roles of musical care throughout our lives. The multifaceted nature of musical care requires bringing together perspectives and expertise from practice and research, from different fields and disciplines. This edited book shows interdisciplinary collaboration in action by assembling music practitioners and researchers to collaboratively write each chapter—each covering a stage during the life course—to discuss musical care from interdisciplinary perspectives, and to offer directions for future work. This book illustrates the wealth of understanding that can be gained from interdisciplinary collaboration in musical care. This is the start of a conversation and a call to action; a catalyst for new collaborations that will bring new insights to musical care throughout the life course.

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33

Brinkman, Dane A. Supporting families through collaboration: An analysis of Oregon Even Start partnerships. 1998.

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34

Smith, Susan. Elizabeth Taylor. 2nd ed. British Film Institute, 2019. http://dx.doi.org/10.5040/9781838711849.

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Анотація:

Elizabeth Taylor was one of the major film stars of the twentieth century, embodying all the glamour and allure of Hollywood stardom. Yet her achievements as an actress have often been overshadowed by her beauty and tumultuous life off-screen. To redress this imbalance, Susan Smith offers an illuminating study of Elizabeth Taylor's work in film, exploring her fascinating trajectory from child to adult star. Smith reveals the influence that Taylor's early work exerted over her later career and the ways in which her on-screen identity is profoundly rooted in her association with animals and nature. Smith carefully unpicks what made Taylor such a distinctive and dynamic on-screen performer – from the expressive use she made of her eyes to the dramatic significance of her voice – and considers the importance of certain professional collaborations that Taylor forged during her career, most notably her acting partnership with Montgomery Clift.

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35

Agile Data Warehouse Design: Collaborative Dimensional Modeling, from Whiteboard to Star Schema. DecisionOne Press, 2011.

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36

Jump Start Nodejs. Sitepoint, 2012.

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37

State Child Care/Head Start Work Group (Or.) and Oregon Head Start Collaboration Project., eds. Cooperation, coordination and collaboration: A guide for child care and Head Start programs. Salem, Or: Oregon Head Start Collaboration Project, 1995.

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38

Archer, Neil. Studying Hot Fuzz. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9780993238406.001.0001.

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Анотація:

By the power of Greyskull! In their second big-screen collaboration after Shaun of the Dead (2004), with Hot Fuzz (2007) director and co-writer Edgar Wright and co-writer and star Simon Pegg took aim at the conventions of the Hollywood action movie, transplanting gratuitous slo-mo action sequences into the English village supermarket and local pub. This book, the first critical study of arguably the most influential British film-makers to emerge this century, considers to what extent a modestly funded film such as this can be considered ‘British’ at all, given its international success and distribution by an American studio, and how far that success depends upon what the book calls its ‘cultural specificity’. It considers the film as a parody of the action-movie genre, and discusses exactly how parody works — not just in relation to the conventions of the action film but also in the depiction of English space. Exactly what and who is Hot Fuzz poking fun at?

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39

Kehoe, Rebecca R., Blythe L. Rosikiewicz, and Daniel Tzabbar. Talent and Teams. Edited by David G. Collings, Kamel Mellahi, and Wayne F. Cascio. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198758273.013.23.

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Анотація:

We provide an integrative review of extant research related to talent (i.e., stars) in the team context. Beginning with a focus an the influences of stars on teams, we review research on stars’ roles as boundary spanners, in which stars may leverage their favorable network positions to enhance their teams’ access to external resources. We then examine stars’ interpersonal influences within teams, which can be positive (e.g., collaboration and mentoring) or negative (e.g., imposing constraints on colleagues’ opportunities). In the second section, we focus on the effects of the team context on stars. Here, we examine how characteristics of the team environment influence the value of stars’ contributions. We then examine the effects of complementarity and redundancy resources on stars’ behavioral propensities and performance outcomes. Finally, we draw on patterns of findings in the extant research we reviewed to identify critical directions for future research on stars and teams.

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40

United States. General Accounting Office., ed. Head Start and Even Start: Greater collaboration needed on measures of adult education and literacy : report to Congressional requester. Washington, D.C. (P.O. Box 37050, Washington 20013): The Office, 2002.

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41

Phillips, James. Sternberg and Dietrich. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915247.001.0001.

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James Phillips’s Sternberg and Dietrich: The Phenomenology of Spectacle reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894–1969) and the German-American actor Marlene Dietrich (1901–1992). Considered by his contemporaries to be one of the most significant directors of Golden-Age Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual mores of the times, and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg’s direction Paramount’s sound stages became laboratories for novel thought experiments. Analyzing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the “cinematic philosophy” that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamor: Dietrich emerges here as a woman at ease in the world without being at home in it, as both an image of autonomy and the autonomy of the image.

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42

Shifting from Me to We: How to Jump-Start Collaboration in a PLC at Work®. Solution Tree, 2020.

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43

Van Leuven, Holly. Ray Bolger. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639044.001.0001.

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Ray Bolger: More Than a Scarecrow is the first book-length biography of the American eccentric dancer and popular culture figure, best known for his role in the 1939 film musical The Wizard of Oz. The book traces Bolger’s career from repertory and vaudeville into New York movie houses, Broadway, nightclubs, the major film studios, Las Vegas resorts, and television programs. Bolger’s dance lineage is also traced through eccentric dancers like Fred Stone and “Irish prince” soft-shoe dancers like George Primrose and Jack Donahue. Special attention is given to Bolger’s involvement in the nascent United Service Organizations (USO) Camp Shows, including his participation in the first ever camp show unit, which went to the Caribbean in November 1941, and later the first unit to entertain in the South Pacific. An entire chapter is dedicated to the creation and performance of Where’s Charley?, Bolger’s most important show and the one for which he earned a Tony Award for Best Featured Actor in a Musical. The Where’s Charley? material explores Bolger’s collaboration with his wife, Gwendolyn Rickard Bolger, who became the first female producer of a musical comedy on Broadway with her contributions to the production. Bolger’s later life as a political spokesperson, a television guest star, and a pop culture personality are also explored.

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44

Council for Exceptional Children. Division for Early Childhood., National Head Start Association (U.S.), and Mid-South Regional Resource Center, eds. New opportunities for collaboration: A policy and implementation resource and training manual for the Head Start regulations for children with disabilities. Pittsburgh, PA: DEC, 1993.

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45

Heber, Ulrich, and C. Simon Jeffery. Atmospheres of Early-Type Stars: Proceedings of a Workshop Organized Jointly by the UK SERC's Collaborative Computational Project No. 7 and the Institut Für Theoretische Physik und Sternwarte, University of Kiel Held at the University of Kiel, Germany, 18-20 September 1991. Springer, 2014.

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46

Platte, Nathan. The Start of Selznick International Pictures. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0005.

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Анотація:

In 1935, Selznick left MGM to become an independent producer. His company, Selznick International Pictures, was to specialize in prestige films like those he had produced at MGM. His first project as an independent, Little Lord Fauntleroy (1936), emphasized this continuity. Like David Copperfield, one of his last films at MGM, Fauntleroy was a sentimental adaptation of a nineteenth-century novel depicting a boy’s coming of age. Selznick International Pictures, however, had to find a different composer. Because Herbert Stothart was contractually bound to MGM, Selznick borrowed previous collaborator Max Steiner from RKO as chief music director and composer for the new company. Selznick and Steiner worked well together on Fauntleroy and the exotically situated The Garden of Allah (1936). Mutual goodwill, however, dissolved on A Star Is Born (1937), for which Selznick rejected much of Steiner’s music. The resultant break forced Selznick to expand his circle of preferred composers.

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47

Quirin, Lisa, Victoria Mogilner, Julie Jones, Susan Glusica, and Colleen Biggs. Stop Waiting, Start Living: Collaboration of Stories and Journal Exercises to Help You Live Your Best Life Now. Adventures of Julie Jones, LLC, The, 2021.

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48

Wagner, Ina. Critical Reflections on Participation in Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198733249.003.0008.

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Анотація:

Participatory design has a strong moral and political commitment to including users in all design decisions from the start of a project. Hence, the ambition of participatory designers reaches beyond mere user involvement. Many of the creative participatory techniques the participatory-design community has developed have spread out. However, in spite of an impressive list of inspiring projects and major contributions to design practice, participatory design remains somewhat marginal. This chapter aims to identify why this might be so. It also looks at recent developments, such as the design of IT infrastructures, collaboration with marginalized groups, and extending participation to communities.

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49

Heller-Nicholas, Alexandra, and Dean Brandum, eds. ReFocus: The Films of Elaine May. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440189.001.0001.

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This book explores the diverse career of director, screenwriter, comic and actor, Elaine May Spanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have recently experienced a long-overdue renaissance. Although she made only four films — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — and never reached the level of acclaim of her frequent collaborator Mike Nichols, May’s work is as enigmatic, sophisticated and unceasingly fascinating as her own complicated, reluctant star persona. This collection focuses both on the films she has directed, and also emphasises her work with other high profile collaborators such as John Cassavetes and Otto Preminger.

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50

Sommers, Joseph Michael, and Kyle Eveleth, eds. The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.001.0001.

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Анотація:

Neil Gaiman (1960-present) currently reigns in the literary world as one of the most critically-decorated and popular authors of the last fifty years. Perhaps best known as the writer of the Harvey, Eisner, and World Fantasy-award winning DC/ Vertigo series, The Sandman, Gaiman quickly became equally-renowned in literary circles for works such as Neverwhere, Coraline, the Hugo, Nebula, Locus, etc. award-winning American Gods, as well as the Newbery and Carnegie Medal-winning The Graveyard Book. For adults, for children, for the comic reader to the viewer of the BBC's Doctor Who, Gaiman's writing has crossed the borders of virtually all media and every language making him a celebrity on a world-wide scale. Despite Gaiman's incredible contributions to multiple national comics traditions (from such works as Miracleman to the aforementioned The Sandman), to the maturation of American comics as a serious storytelling medium, and to changing the rights of creators to retain ownership of their works, his work continues to be underrepresented in sustained fashion in comics studies. As American Gods tops ratings charts for Starz, Anansi Boys can be found in radio play from the BBC, and adaptations of some of his work from Trigger Warning and Fragile Things become standalone comics by renowned artists, it seems timely to bring the bulk of Gaiman's comics into the scholarly discussion. The thirteen essays and two interviews with Gaiman and his frequent collaborator, artist P. Craig Russell, a formal introduction, forward, and afterword examine the work (specifically-comics, graphic novels, picture books, visual adaptations of prose works, etc.) of Gaiman and a multitude of his collaborative illustrators. The essays radiate from an examination of Gaiman's work surrounding proclamations challenging his readers to "make good art'; what makes Gaiman's work unique and worthy of study lies in his eschewing of typical categorizations and typologies, his constant efforts to make good art-whatever form that art may take-howsoever the genres and audiences may slip into one another. What emerges is a complicated picture of a man who always seems fully-assembled virtually from the start of his career, but only came to feel comfortable in his own skin and his own voice far later in his life.

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