782 research outputs found
22 June 2016 Chantal Helm
No full textBat Classify results from recordings made by Chantal Helm using EM3+ on 22 June 2016 near the Great Oak at Panshanger Park TL287132Recording classified as Barbastelle by Bat Classify (p=0.99) also included</p
11 July 2016 Chantal Helm
No full textBat Classify results from the recordings taken by Chantal Helm using EM3+ on 10 July 2016 at TL300126 along the path at the western end of Lady Hughes Wood in Panshanger Park.Bat Classify Barbastelle (P=0.95) recording included- cannot find in wav file?Bat classified Barbastelle also at 22:08 (P=0.99) recording also included- very faint pass- not typical
Au Revoir, Chantal
No full textArticle on Chantal Akerman the artist and her exhibition at Ambika P3 curated by the author in the context of her untimely death
Au Revoir, Chantal [French]
No full textArticle translated and adapted in French on Chantal Akerman the artist and her exhibition at Ambika P3 curated by the author in the context of her untimely death
The films of Chantal Akerman : a cinema of displacements
No full textThis thesis attempts to broaden the critical boundaries within which the films of
Chantal Akerman have been discussed. First, it extends analysis from Akerman's
70s to her 80s and 90s films. Second, it argues that as well as her gender and
aesthetic identities, Akerman's Belgian and Jewish identities should be
acknowledged. Finally, it suggests that each of these four identities: woman,
independent film-maker, Belgian and Jewish allow her a position of marginality,
figured in her films through the trope of 'displacement'.
The structure of the thesis is two-fold: it extends discussion of Akerman's cinema to
films not previously considered, and through this extension engages with
contemporary issues in film and cultural theory such as female authorship,
independent and national, and marginal cinemas. Chapter one `Woman' and chapter
two `Independent' extend the reading of gender and sexuality and formal and
aesthetic innovation in Akerman's cinema. In the first chapter this is done through
consideration of the films Golden Eighties (1986) and Nuit et jour (1990), while in
the second her short films, video work and work for television are examined.
My third and fourth chapters offer areas of Akerman's work which have not
previously been studied. Chapter three, `Belgian', considers the significance of
Akerman's nationality for her film-making while engaging with theories around
national cinema. It examines the possibility of a `Belgian national cinema' and the
intersections which arise between this and Akerman's cinema, especially around
Toute une nuit (1982). Finally, in my fourth chapter, `Jewish', I use Histoires
d'Amerigue (1989) and D'Est (1993) to argue that Akerman's is a `wandering'
cinema, in which she is constantly examining the homelessness and displacement
that her Jewishness engenders
Sınıf Kavramının Güncelliği Bağlamında Chantal Mouffe Düşüncesinin Eleştirel Bir Analizi
No full textThe subject of this study is to examine Chantal Mouffe's radical pluralist democracyproject on the basis of fundamental criticisms towards the post-Marxism. In this regard,primarily the basic concepts used by Chantal Mouffe, the philosophers he referred andthe main line he followed in the course of formation of his ideas are put forward. Inaddition, all the components, revealed by the author, of the radical pluralist democracyproject are discussed and the contributions of these components to the project inquestion are examined.Bu çalışmanın konusunu Chantal Mouffe un radikal çoğulcu demokrasi projesininincelenmesi ve bu projenin post-Marksizme yönelik temel eleştiriler bağlamında elealınması oluşturmaktadır. Bu doğrultuda öncelikle Chantal Mouffe un kullandığı temelkavramlar, düşüncesini oluştururken yararlandığı düşünürler ve izlediği temel hat ortayakonulmaktadır. Bunun yanı sıra yazarın ortaya koyduğu radikal çoğulcu demokrasiprojesinin tüm bileşenleri ele alınmakta ve bu bileşenlerin söz konusu projeye sunduğukatkılar irdelenmektedir. Sınıf kavramının diyalektik kavrayışını sunmak amacında olanbu çalışma, post-Marksizme yönelik eleştiriler bağlamında Chantal Mouffedüşüncesinin kuramsal bir analizini yapmaktadır
Corporate Social Responsibility Management in tourism business: The impact of TUI Group and Intrepid Group on low- and middle-income countries
No full textTourism can be an enormous opportunity for low- and middle- income countries with limited alternatives for development. However, it also bears several risks for the economy, environment and culture of a country. Therefore, the necessity for sustainable tourism development in low- and middle- income countries becomes inevitable to guarantee positive social impact for all stakeholders.
Instead of focusing on governmental measures for more sustainable tourism, this thesis addresses Corporate Social Responsibility (CSR). In doing so, the author compares two major international tour operators, TUI Group and Intrepid Group, their CSR approach and execution, assessing the implementation and lastly the effectiveness.
While the Intrepid Group built its business idea around CSR, TUI Group took increasingly more efforts in creating more sustainable tourism products over the past few years. Both corporations are taking a pioneering role in the sector by taking various steps to mitigate the negative social impact. Nevertheless, there still is a lot of potential for improvements
Chantal Akerman, entre autoethnographie et banal : un féminisme des interstices.
No full textChantal Akerman is generally considered a feminist cineast by the commentators of her work, especially regarding her 1976 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. This film perfectly fits into the cognitive orientation of the women’s movement of the second wave in politicizing domestic work. I argue in this article that the feminist point of view of the author is graspable in two cinematic dispositives used throughout her work: firstly, the way she forces us to look at the banal generally devalued, and secondly, the autoethnographic component of her cinema affirming the fluidity of the subject and a situated point of view. Chantal Akerman is precursor of a practice theorized since the 1980s as a consequence of the « Crisis of representation », consisting in shifting the focus from to Other to the self
Twist, Revolt, Survive:My Mother Laughs by Chantal Akerman
No full textA write-up of my contribution to a roundtable panel that took place at King’s College London on 26th September 2019 to celebrate the English translation of Chantal Akerman’s My Mother Laughs. The speakers were Ros Murray (KCL), Jenny Chamarette (QMUL), Albertine Fox (Bristol), Frances Morgan (author of the Afterword, My Mother Laughs), Sarah Shin (Silver Press) and it was chaired by Clara Bradbury-Rance (KCL). The discussion followed a screening of Saute ma ville (1968)
2021-07 ePipeline cybersecurity guidance
No full textby Chantal Wikstrom.Title from PDF caption (viewed on July 13, 2021).This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
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