897 research outputs found
Correction: Face coverings: considering the implications for face perception and speech communication
No full textThe original article [1] contained errors in co-author, Gabrielle H. Saunders’ name and affiliation which have both since been amended.</p
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
sj-docx-1-tia-10.1177_23312165231195987 - Supplemental material for Fitting a Hearing Aid on the Better Ear, Worse Ear, or Both: Associations of Hearing-aid Fitting Laterality with Outcomes in a Large Sample of US Veterans
No full textSupplemental material, sj-docx-1-tia-10.1177_23312165231195987 for Fitting a Hearing Aid on the Better Ear, Worse Ear, or Both: Associations of Hearing-aid Fitting Laterality with Outcomes in a Large Sample of US Veterans by Oliver Zobay, Graham Naylor, Gabrielle H. Saunders and Lauren K. Dillard in Trends in Hearing</p
Lend Me A Tenor Production Photo
No full textProvidence College Department of Theatre, Dance and Film
Angell Blackfriars Theatre
Lend Me a Tenor by Ken Ludwig
January 27-29 & February 3-5, 2012
DIRECTED BY: Jimmy Calitri
SCENIC DESIGN: Kathryn Kawecki
COSTUME DESIGN: Amanda Downing-Carney
LIGHTING DESIGN: Jen Rock
SOUND DESIGN: Paul Perry
VOCAL COACH: David Harper
ASSISTANT DIRECTOR: Dora Mighty
Cast (in order of appearance): MAX: Patrick Mark Saunders;MAGGIE: Aubrey Dion; SAUNDERS: Jeff DeSisto; TITO: Daniel Caplin; MARIA: Grace Curley; BELLHOP: Kevin Lynch; DIANA: Marisa Urgo; JULIA: Erin Fusco
ARCHIVE PHOTOGRAPHY: Gabrielle Markshttps://digitalcommons.providence.edu/tenor_photos/1000/thumbnail.jp
The Sweetest Swing in Baseball Photo
No full textProvidence College Department of Theatre, Dance & Film Angell Blackfriars Theatre
The Sweetest Swing in Baseball By Rebecca Gilman February 3 - 6, 2011 Directed by Jimmy Calitri Costume Design: David Cabral Lighting Design: Matthew Terry Scenic Design: Kathryn Kawecki Sound Design: Paul Perry
Cast: DANA - Cat McDonnell; ROY/GARY - Alexander J. MacIntrye; ERICA/DR STANTON - Aubrey Dion; BRIAN/MICHAEL - Patrick Saunders; RHONDA/DR GILBERT - Dora Mighty
Photography by Gabrielle Markshttps://digitalcommons.providence.edu/baseball_photos/1000/thumbnail.jp
Lord of the Flies
No full textLord of the Flies Production Photo by William Golding, Adapted for the stage by Nigel Williams Providence College Dept. Theatre, Dance & Film Directed by Patrick Mark Saunders and John Garrity Scenic Designer: Renée Surprenant Fitzgerald Lighting Designer: Marc Tiberiis II Voice and Dialect Coach: Megan Chang Sound Designer: Paul Perry Costume Designer: Anna Grywalski Properties Designer: Peggy Becker Fight Choreographer: Jim Beauregard All Production Photos by Gabrielle Markshttps://digitalcommons.providence.edu/flies_photos/1073/thumbnail.jp
Citation, Annotation,Translation: Reflections on Italian Feminisms and the Now You Can Go programme
Full text linkThis 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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