863 research outputs found
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Yvette and the Wild Shame
No full textYvette and the Wild Shame was first produced by Columbia University at The Pershing Square Signature Center in New York City on April 12, 2014. It was directed by Tasha Gordon-Solmon. The cast was as follows: Matthew McDonald - Footman, Sean McIntyre - Maximus, Becca L. McLarty - Julie, Michael Micalizzi - Wilderness Boy, Adam Thomas Smith - Footman, Jen Taher - Cheryl, Lindsay Torrey - Yvette. The lighting design was by Carolyn Wong; the costume design was by Summer Lee Jack; the sound design was by Ien DeNio; the set and props design was by Aaron Ethan Green; the music was composed by the author; the production stage manager was Michael Tosto; the stage manager was Alexandra Hall, the director of production was Joe Novak
Rum and Cuba
No full textYvette Fuentes was a panel participant and moderator along with Tom Gjelten, the author of Bacardi and the Long Fight for Cuba. This panel was a part of Broward County Library\u27s Literary Feast on March 21th, 2009
Yvette, Solange et Chantal : Les Québécoises de Mordecai Richler
No full textMordecai Richler est considéré à la fois comme un polémiste offensant à l’endroit des Québécois francophones et comme l’un des romanciers anglo-montréalais les plus brillants, ce qui amène plusieurs critiques à diviser le jugement qu’ils portent à l’endroit de cet écrivain. Afin de dépasser les idées reçues auxquelles conduit cette représentation duelle, l’auteur se propose d’analyser le rapport ambigu que Richler entretient avec l’identité québécoise francophone, non pas dans ses essais polémiques, mais dans son oeuvre romanesque. Pour ce faire, il analyse, à partir des romans The Apprenticeship of Duddy Kravitz (1959) et Barney’s Version (1997), la fonction sociosémiotique que remplissent trois personnages féminins et francophones : Yvette, Solange et Chantal.Mordecai Richler is viewed both as the author of polemics that insult French-speaking Quebecers and as one of the most brilliant of Anglo-Montrealer novelists, leading a number of critics to pronounce a divided judgment on him as a writer. In order to go beyond the conventional ideas associated with this dual representation, the author undertakes to analyze Richler’s ambiguous relationship with the Francophone Quebec identity as expressed not in his polemic essays, but in his novels. To carry out this project, the author analyzes the socio-semiotic function of Yvette, Solange and Chantal, three French-speaking female characters from the novels The Apprenticeship of Duddy Kravitz (1959) and Barney’s Version (1997)
But Is It Art? Female Performers in the Café-Concert
No full textThe Café-Concert as an object of study has tended to attract the interest of art rather than theatre historians, despite the fact that it was the major form of popular entertainment in France during the nineteenth century. Similar but not identical to the English music hall of the same period, the Café-Concert produced a number of stars of national importance, a large majority of whom were women. Through the writings of journalists and commentators of the period, this article explores how these female performers were perceived and constructed as objects of the public gaze. The author, Geraldine Harris, is a Lecturer in Theatre Studies at the University of Lancaster, with interests in both popular and feminist theatre
Yvette Barbaza a la Costa Brava
No full textEl coneixement personal d’Yvette Barbaza, que freqüentava casa seva quan estudiava el paisatge i la seva gent, i anys després, porta l’autor a traçar la relació que la geògrafa va establir, al llarg de la seva vida, amb el litoral empordanès i la seva gent. La Costa Brava, just el moment en què començava la transformació, va ser observada per la geògrafa com a objecte d’estudi de la seva tesi doctoral. A Le paysage humain de la Costa Brava, 1966, presentava el passat i el present del litoral durant els anys cinquanta i seixanta i alertava del que podia passar si no s’actuava de manera preventiva: les formes humanes i l’espai físic litoral podien canviar. Vint-i-cinc anys després es mostrava decebuda per com s’havia transformat el paisatge que havia vist i estudiat.His personal relationship with Yvette Barbaza, who frequented his house during her research of the landscape and its people and afterwards, led the author to outline the geographer's lifelong relationship with the Empordà coast and its people. The Costa Brava, right at the beginning of its transformation, was the subject of the geographer's doctoral thesis. In Le paysage humain de la Costa Brava, 1966, she explained the coastline's past and present of the 1950s and 60s and alerted of what could happen if no preventive measures were taken: human conditions and the coast's physical space could change. Twenty-five years later, she was disappointed about how much the landscape she observed and studied had transformed
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The AI Author in Litigation
No full textMany scholars have posited whether a computer possessing Artificial Intelligence (AI) could be considered an author as defined per the Copyright Act of 1976. What was once a thought experiment is now becoming reality. To date, scholarship has focused primarily been on whether an AI meets the requirements of authorship from a purely objective legal framework or whether an AI could be an author based on the doctrines of incentives, independent creation, and creativity.
However, a burden inherent in the rights and liabilities of authorship is the ability to be held liable if that author’s expressive work is infringing on another’s. A cause of action is meaningless if a copyright owner cannot enforce it by suing the infringer or if the infringer is judgement-proof. Thus, when contemplating whether an emancipated AI—or any non-human—can be an author under the Copyright Act, part of that examination should be whether the AI which created the work can sue or be sued for infringement.
This article considers issues from the theoretical, like civil procedure and remedies, to the practical, such as legal representation and discovery. How is an AI served with a lawsuit? What would be an adequate, enforceable remedy for an AI’s infringement? Is an AI even bound by our laws? Additional questions—and procedural barriers—are raised when considering other roles an AI might play in an infringement action: as a witness, a co-party, or even a plaintiff seeking to protect its own creative expression.
This morass of legal headaches goes beyond any doctrinal issues regarding authorship, and provide ample reason to keep legal authorship in the hands of humans or entities controlled by humans—at least until legal procedure catches up to technological realities and possibilities for litigation that AI parties present
Implementing positive psychology interventions to increase employee well-being and reduce organizational cost
No full textPositive Psychology at the workplace captures the active positive interventions that an employee and/or employer can implement to foster a healthier and happier work environment. By focusing on elements of positive psychology such as work as meaning, positive emotions, character strengths, educational and professional development, job crafting, and work design, I have performed an integrative analysis of positive interventions that can be introduced at the workplace to create job satisfaction, resiliency, and human thriving. Through scholarly research, I have analyzed factors that help employees flourish in the workplace, and identified how that impacts the overall success of their organization. This paper explores the best and worst practices, as well as the effects those practices have on turnover rates, financial impacts, and how companies can avoid creating a toxic work environment.M.A.L.S.Includes bibliographical referencesby Yvette N. Hacket
Yvette Mercier-Gouin ou Le désir du théâtre
No full textLe présent article est une réflexion sur les conditions d’accès des femmes au théâtre dans le contexte québécois de la première moitié du xxe siècle à partir de la carrière d’Yvette Mercier-Gouin, d’abord comédienne dans des troupes d’amateurs puis auteure dramatique, surtout connue pour sa pièce Cocktail, crée au Théâtre Stella en 1935. La trajectoire de Mercier-Gouin révèle la place qu’occupe le théâtre dans la socialité bourgeoise de l’époque, laquelle détermine aussi les choix esthétiques de l’auteure, dans son oeuvre écrite, composée surtout de drames bourgeois. Au coeur de cette écriture, se découvrent néanmoins des problématiques neuves qui, de la maternité à la figure de l’artiste, préfigurent un théâtre ouvertement féministe.This paper offers some thoughts on the difficulty of being a woman on the stage in the context of the history of Quebec theatre in the first half of the twentieth century, based on the theatrical career of actor and playwright Yvette Mercier-Gouin, better-known as the author of Cocktail produced by the Théâtre Stella in 1935. Mercier-Gouin’s carreer illustrates the role of theatre in the so-called bourgeois culture which in turn influences the author’s written works, mostly related to bourgeois drama. These plays however cannot be reduces to bourgeois categories. They also offer concepts and themes revolving around maternity and the artist figure, anticipating an openly feminist theatre
The AI Author in Litigation
No full textMany scholars have posited whether a computer possessing Artificial Intelligence (AI) could be considered an author as defined per the Copyright Act of 1976. What was once a thought experiment is now becoming reality. To date, scholarship has focused primarily been on whether an AI meets the requirements of authorship from a purely objective legal framework or whether an AI could be an author based on the doctrines of incentives, independent creation, and creativity.
However, a burden inherent in the rights and liabilities of authorship is the ability to be held liable if that author’s expressive work is infringing on another’s. A cause of action is meaningless if a copyright owner cannot enforce it by suing the infringer or if the infringer is judgement-proof. Thus, when contemplating whether an emancipated AI—or any non-human—can be an author under the Copyright Act, part of that examination should be whether the AI which created the work can sue or be sued for infringement.
This article considers issues from the theoretical, like civil procedure and remedies, to the practical, such as legal representation and discovery. How is an AI served with a lawsuit? What would be an adequate, enforceable remedy for an AI’s infringement? Is an AI even bound by our laws? Additional questions—and procedural barriers—are raised when considering other roles an AI might play in an infringement action: as a witness, a co-party, or even a plaintiff seeking to protect its own creative expression.
This morass of legal headaches goes beyond any doctrinal issues regarding authorship, and provide ample reason to keep legal authorship in the hands of humans or entities controlled by humans—at least until legal procedure catches up to technological realities and possibilities for litigation that AI parties present
Conflits d'utilisation du sol et besoins en espace récréatif : le cas des grandes prairies angevines
No full textAbstract. - The intensifying action in agriculture in damp areas related to water-control and soil improvement is at the root of conflicts between agriculture and tourism.
Its brings about a change of the agrarian landscape, new types of cultivation and a disappearance of the entertaining function.
The author presents the case of the great meadows of the Anjou, studying more especially example of the meadows of Mollay, by the Thouet, affluent on the left side of the Loire.Résumé. - L'intensification agricole dans les zones humides liée à la maîtrise de l'eau et à l'amélioration foncière est source de conflit entre l'agriculture et le tourisme. Elle entraîne une transformation du paysage agraire, des natures de cultures et une disparition de la fonction récréative. L'auteur présente le cas des grandes prairies angevines en étudiant plus particulièrement l'exemple des prés de Mollay qui bordent le Thouet, affluent de rive gauche de la Loire.Bonneau M., Barbaza Yvette. Conflits d'utilisation du sol et besoins en espace récréatif : le cas des grandes prairies angevines. In: Bulletin de l'Association de géographes français, N°417-418, 51e année, Mai-juin 1974. pp. 185-193
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