937 research outputs found
Gabrielle Greenberg collection 1908-2012 Bulk dates: 1943-1946
No full textThe focus of this collection lies on the correspondence between Lily Lösser and her daughters Yutta (Judy) and Gaby (Gabrielle) during their time of separation 1943-1946. The rest of the collection is made up of personal albums, official correspondence, documents and other material.digitizedLilli (also: Lily) Lösser (also: Losser), née Haymann, was born on February 21, 1905, in Bad Kreuznach, Germany, the daughter of Samuel and Julie Haymann, née Rosenbusch. Lily was married to Hugo Lösser and their first daughter, Jutta (later; Judy) was born on June 29, 1932, in Essen, Germany. In 1933 the family left Germany for Lisbon, Portugal, where Hugo worked with the chocolate manufacturer "Favorita". Lily worked at an international aid committee for Jewish refugees. On August 20, 1935, their second daughter, Gabriela (also: Gabrielle) was born. Hugo Lösser died in 1937.In January 1943 Lily sent her daughters, aged seven and ten, to the United States, where they lived with the Steinhart family. Lily joined them in early 1946. Judy got married to Mannie Honig in 1953 and moved to Miami, Florida, where she died on July 17, 1989. Gaby married Jerry Greenberg in 1962 and lived in New York. Lily married Morris Besso, who died in 1968; she then retired to Florida, where she died in Miami on August 8, 1988.Else Davidson, née Lösser, was Hugo Lösser’s sister. She was the daughter of Gustav and Martha Lösser. Else was married to Martin Davidson, and they had two daughters, Ruth and Gerda, who were nine and five years old in 1935, when the family departed to Lisbon, Portugal. In 1943, the parents sent their younger daughter Gerda to the United States; her sister Ruth stayed with her parents in Portugal until their immigration to New York in 1946. While in Lisbon, Ruth graduated from the Lyzeum (high school), after which she worked at the refugee aid organization HICEM. In 1955 Ruth married Adolfo de Carvalho, returning to Portugal with him in 1985.Processe
Gabrielle Calvocoressi, 44th Annual ODU Literary Festival
No full textGabrielle Calvocoressi is the author of The Last Time I Saw Amelia Earhart; Apocalyptic Swing, which was a finalist for the LA Times Book Prize; and Rocket Fantastic, winner of the Audre Lorde Award for Lesbian Poetry. Calvocoressi has received numerous awards and fellowships including a Stegner Fellowship and Jones Lectureship from Stanford University, a Rona Jaffe Woman Writer’s Award, a Lannan Foundation residency, the Bernard F. Conners Prize from The Paris Review, and a residency from the Civitella Ranieri Foundation. Calvocoressi teaches at UNC Chapel Hill and lives in Durham, North Carolina
Ep. #055 - Gabrielle Hecht
No full textThis recording and transcript form part of a collection of podcasts conducted by the Cultures of Energy at Rice University. Cultures of Energy brings writers, artists and scholars together to talk, think and feel their way into the Anthropocene. We cover serious issues like climate change, species extinction and energy transition. But we also try to confront seemingly huge and insurmountable problems with insight, creativity and laughter.In a fittingly bizarre intro for these political times, Cymene and Dominic share weird fantasies and actual plans for resistance. We then (11:57) welcome to the podcast renowned historian and ethnographer of nuclear energy, Gabrielle Hecht from the University of Michigan, author of Being Nuclear and The Radiance of France (MIT Press). Gabrielle tells us why she first became interested in nuclear power growing up in Reagan’s Cold War. We compare fears of nuclear war then and now and explore different historical constructions of “the nuclear” more generally. We talk about her concept of “toxic infrastructure” and how it can apply to places like Flint, Michigan. Gabrielle then explains how France became the country in the world most reliant upon nuclear energy for its electricity and why the French nuclear industry is in now in such a state of panic. We talk about why nuclear energy hasn’t lost its utopianism—including as a climate change fix—but why we think the nuclear solution to global warming is a red herring. We turn to Fukushima and Gabrielle reminds us that it’s also important to pay attention to the less spectacular but more common environmental and human impacts of using nuclear fuel, including the fate of people who clean reactors under normal and catastrophic conditions. We discuss uranium mining in Africa and the struggles miners have fought to have their “biological citizenship” recognized by their governments. That leads us to talk about the real costs of nuclear energy. And we close on Gabrielle’s latest work on toxicity and what she calls the African Anthropocene. Hang in there, everyone, be kind to yourselves and stay strong for the long run of resistance
Michel Brix, Nerval journaliste
No full textMalandain Gabrielle. Michel Brix, Nerval journaliste. In: Romantisme, 1990, n°69. Procès d'écritures Hugo-Vittez. pp. 147-149
Michel Brix, Nerval journaliste
No full textMalandain Gabrielle. Michel Brix, Nerval journaliste. In: Romantisme, 1990, n°69. Procès d'écritures Hugo-Vittez. pp. 147-149
Supplemental Material - LM Initiative Success at the Institutional Level Through the RE-AIM Approach: 12 Tips and Implementation Science Strategies
No full textSupplemental Material for LM Initiative Success at the Institutional Level Through the RE-AIM Approach: 12 Tips and Implementation Science Strategies by Hugo Ortega, MD, Christina Tache, MD, Gabrielle Bachtel, and Gia Merlo, MD, MBA, MEd in American Journal of Lifestyle Medicine.</p
Citation, Annotation,Translation: Reflections on Italian Feminisms and the Now You Can Go programme
No full textThis lecture focuses on ‘Now You Can Go,’ a two-week long events programme inspired by Italian feminisms of the late 1960s, 1970s and 1980s that Helena Reckitt initiated and organised with six feminist colleagues in 2015. Foregrounding the implications of what it means to both curate as feminists and to curate feminist content, the talk explores how practices of transmission, translation and annotation operate as means of intergenerational feminist encounter.
Italian feminisms feature little within Anglo-American accounts of the women’s movement. Yet the tactics that Italian feminists developed, largely through the practices of small groups and collectives, have much to offer contemporary feminism. These practices include autocosziena, the Italian feminist version of consciousness-raising; affidamento/entrustment, in which women form relationships of entrustment with one another that recognise their differences and disparities; non-assimilationist politics that refuse the assumptions inherent to campaigns for equal rights; and the rejection of expected roles and institutional power that Carla Lonzi termed ‘deculturation,’ which she examined in her book Vai Pure, whose English name, ‘Now You Can Go,’ lent the programme its title.
Reckitt describes how the ‘Now You Can Go’ programme developed out of the Feminist Duration Reading Group on under-known feminisms, especially those from Italy, and discusses how programme elements were led by the seven members of a programming team that she initiated. Considering the generative impact of the programme, Reckitt also discusses some of its limitations, which reflect the need to incorporate feminist values into a project that curates feminist content.
The talk considers the practices of artists, theorists and activists including the historical projects of Carla Lonzi, Rivolta Femminile, Milan Women’s Bookshop Collective, Wages For Housework, Teresa de Lauretis, and Gayatri Spivak, and of contemporary practitioners including Claire Fontaine, Kajsa Dahlberg, Laura Guy, Gabrielle Moser, and Nina Wakeford.
Following the presentation, Reckitt later participated in a panel discussion alongside curators and art historians Nkule Mabaso, Lara Perry, Maura Reilly, Dorothee Richter, and Hilary Robinson, chaired by Laura Castagnini
CATSSAA - Corpus of the Accent Tag: Spoken Scots and African American
No full textThe CATSSAA (Corpus of the Accent Tag – Spoken Scots and African American) is a corpus made from videos of the Accent Tag on Youtube (a video trend, where vloggers have to complete a certain set of tasks inspired by the Dialect Survey (Vaux, 2002)). They read a list of words and have to answer lexicological questions. The corpus was selected according to the language the users spoke: Scots and African American English, which are two minority languages in Great Britain and in the United States, respectively. These informants have been picked in various regions, where different dialects (Geechee American, Doric; Glaswegian Scots/Patter) are used.The corpus contains sound files (.wav), transcriptions (.txt), alignments in Praat format (WIP). The total length of the corpus is about two hours (the audio file are 3 to 12 minute-long).Le CATSSAA (Corpus of the Accent Tag – Spoken Scots and African American) est un corpus constitué à partir de vidéos de l'Accent Tag (vidéos ludiques et participatives, où les internautes doivent répondre à des questions inspirées du Dialect Survey de Vaux (2002)). Ces internautes lisent une liste de mots, et doivent répondre à des questions lexicologiques. Le corpus est constitué de matériel recueilli auprès de locuteurs de scots et d'afro-américain, deux langues minoritaires en Grande Bretagne et aux États-Unis respectivement. Ces locuteurs ont été choisis dans des régions différentes, où différents dialectes des langues (dorique, glaswegien pour le Scots, Geechee pour l'afro-américain…) sont utilisés.Le corpus comprend les fichiers son (.wav), des transcriptions (.txt) et des alignements sous Praat (WIP). La durée totale des fichiers est d'environ 2 heures (les fichiers audio vont de trois à douze minutes)
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