1,721,160 research outputs found
Sabine Stach / Juliane Tomann (Hrsg.), Historisches Reenactment. Disziplinäre Perspektiven auf ein dynamisches Forschungsfeld. (Medien der Geschichte, Bd. 4.) Berlin/Boston, De Gruyter 2021
No full textEike Faber / Timo Klär (Hrsg.), Zwischen Hunger und Überfluss. Antike Diskurse über die Ernährung. (Potsdamer Altertumswissenschaftliche Beiträge, Bd. 71.) Stuttgart, Steiner 2020
No full textAlastair J. L. Blanshard / Kim Shahabudin, Classics on Screen. Ancient Greece and Rome on Film. London, Bristol Classical Press 2011
No full textSupplementary Material: Method for Data-Driven Automated Parameterization of Energy Flexibility Models of Production Systems
No full textThe repository contains additional materials for the Dissertation: "Lindner, Martin (2024): Method for Data-Driven Automated Parameterization of Energy Flexibility Models of Production Systems".
The files contain the raw data sets as well as the prototype implementation as python code.
No guarantee is given for the correctness and consistency with the data of the written version, but the data has been prepared to the best of my knowledge and with great care.Tes
VIRGIL IN THE MODERN WORLD - (J.R.) O'NEILL, (A.) RIGONI (edd.), The Aeneid and the Modern World. Interdisciplinary Perspectives on Vergil's Epic in the 20th and 21st Centuries. Pp. xiv + 270, ill. London and New York: Routledge, 2022. Cased. £120, US$160. ISBN: 978-1-032-00868-4.
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Playing Classical Drama – “Young” Theatre Festivals and the “Non-school” of Ravenna
No full textThe ‘game’ of theatre has been played for centuries, in schools and universities, and more
frequently in the past century. The major festival of classical productions in Italy (held at
the Greek theatre of Syracuse since 1914) was based on pedagogical experiments
previously tested with students, for instance by Ettore Romagnoli in Padua University.1
The recent and successful experiments produced by the Istituto Nazionale Dramma
Antico (INDA) – such as Oedipus Rex, directed by Robert Carsen, in 2022 –2 have
included young and talented students of the local drama school.
The same happens in minor productions outside Syracuse, in ancient or modern
Italian theatres, or in suburban, small and unconventional sites. Most Italian high schools have theatre classes, and many focus on the classics. Workshops with children and
teenagers are increasingly important for professional companies.
Moreover, some Italian companies who have worked together for years, especially with
youngsters, choose the chorus as their distinctive feature, and focus on collective
productions, including adaptations of ancient dramas.5 Our main case study is one of
these, the Teatro delle Albe (Ravenna) a unique example of ‘community theatre’ in Italy,
founded in 1983 by Marco Martinelli, Ermanna Montanari, Luigi Dadina, and Marcella
Nonni
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