bluuebunny/crossref_metadata_2025_split huggingface dataset:
The N.Y. Apparition Theatre of Ken Jacob
Authors: Pam Dorothy S. 
Published: April 2006

Ken Jacobs’ two-and-three-dimensional shadow play, “ ‘Slow Is Beauty’—Rodin,” was performed over several weekends in the fall of 1974 in a loft at the Idea Warehouse on Reade Street in New York City. The central aim of Jacobs is to make “depth recognition an esthetic event as.is done in dance and sculpture, to tune the audience into the sensuality of depth intervals.”The traditional shadow play is done by backlighting puppets, hands, or actors who perform behind a translucent screen, curtain, or panel. The effect is flat and two-dimensional. To achieve a three-dimensional effect, Jacobs uses two opposingly polarized sources of light, each of which causes the object before it to cast a shadow. The audience thus sees two separate shadows, which may overlap to some extent, for one object. When the viewer puts on a pair of polarized glasses with eyepieces of opposing polarities, he sees only one image with each eye.
E.F. Burian: D34–D41
Authors: Burian Jarka M. 
Published: April 2006

Emil Frantisek Burian. who was to become the leading avant-garde director in the Czech theatre of the 1930s, was born in 1904 (d. 1959), the son of Emil Burian, a leading baritone of Prague's National Theatre Opera, and his wife Vlasta (née Hatláková), a teacher of singing. His uncle was Karel Burian, a concert tenor. The musical environment established by his family was sustained in Burian's musical education: he graduated from the Prague Conservatory and subsequently completed master's study in composition in Prague under the Czech composer J. B. Foerster. Burian eventually composed seven operas, numerous ballets and chamber works, and most of the music for his theatre productions.If the roots of Burian's general creativity may be found in music, the roots of his philosophy may be found in Marxism: while still a student, in 1923, Burian became a member of the Czech Communist party.
El Teatro de la Esperanza: Keeping in Touch with the People
Authors: Huerta Jorge A. 
Published: April 2006

El Teatro de la Esperanza began as a student group composed of Chicanos attending the University of California at Santa Barbara in 1969. Then known as Teatro Mecha, the Teatro left the ranks of a student organization, called M.E.Ch.A., in order to get more fully involved in Santa Barbara's Chicano community, in the summer of 1971. This move proved to be an asset for both the community and the Teatro, for the group took part in the acquisition and remodeling of a 22,000 square foot warehouse which soon became La Casa de la Raza (The House of the People).Prior to 1965, there was little unity of sociopolitical direction among Chicanos and Mexicans in the United States, and the Casa was a symbol of the effort to address the problems of this bilingual minority. The Casa maintains a line of communication with the barrio by offering over thirty programs ranging from a free health clinic to an office of information for undocumented workers, otherwise known as illegal aliens.
…I Thought I was Hallucinating
Authors: Wilson Robert 
Published: April 2006

I began writing I was sitting on my patio this guy appeared I thought I was hallucinating a few days after the final performance of Einstein on the Beach in November of 1976.I wrote a few pages of dialog at a time in a large notebook with blank pages that I often write and draw in when working on a piece. The language I wrote was more a reflection of the way we think than of the way we normally speak. My head became like a TV, switching from thought to thought (and in writing from phrase to phrase) like flipping a dial from channel to channel.I write when I am alone and work best when there are no interruptions. I sometimes keep a television on at low volume and incorporate phrases I hear into my text, which I write quickly, usually leaving it untouched and in its original order once the words are on the page. Every few days I had a few pages of writing typed up.
Contemporary Italian Theatre
Authors: Prosperi Mario 
Published: April 2006

What is particularly Italian about the theatre that is produced in Italy? What characteristics make it different—recognizable—to the foreign spectator?After the war, Italian theatre was scarcely significant for its innovations. An effort to restore tradition in theatre absorbed most creative energies. Three outstanding influences belong to this period. The first is that of the Academy of Dramatic Arts, founded in 1936 by Silvio D'Amico with the purpose of raising the cultural level of Italian theatre. The Academy concentrated on the critical analysis of texts. Orazio Costa and his students, Luigi Squarzina and Vittorio Gassman, were the main exponents of this concern for tradition. The institution was a profound influence on the generation of postwar actors.The second influence was that of foreign theatre. After the war, there was a consumer attitude toward French, English and American “hit shows.”
Giuliano Vasilicò's PROUST, with Some Antecedents
Authors: Prosperi Mario 
Published: April 2006

Giuliano Vasilicò began his theatrical career in 1968 when he returned to Italy from Sweden, where he had spent eight years studying literature and the arts, though without any specific concern for the theatre. His sister, Lucia Vasilicò, had been working in Rome as an actress in experimental theatre and films with, among others, Fellini and Warhol. With her and Ingrid Enbom, who had come with him from Sweden, he began to articulate his ideas and formulate plans for theatrical activity. He and Enbom joined Giancarlo Nanni's group as actors in the production of Escurial by Michel de Ghelderode. Their association with Nanni, however, lasted only a few months. Vasilicò was impatient to verify his own ability as a playwright.He subsequently staged two of his own plays: Psychopolitical Mission in 1969 and Occupation in 1970.
Jungian Analysis
Authors: Mueller Carl R. 
Published: April 2006

There are at least two ways of approaching a literary work of art from the standpoint of psychology: first, by simply analyzing the characters through their words and actions as real people; and second, by treating the work as a dream turned inside out, in which each character is a facet, or refraction, of the dreamer's personality. The virtue of the second approach is that it objectifies the action to the degree that it is easier to treat the problem on a social rather than on an exclusively personal level. Outside of therapeutic analysis the aim of a psychological approach to art should not be to read the mind of the artist, but to read the work of art as a societal dream; not as personal pathology, but as social pathology.The second approach is also more profitable in certain works that are manifestly dream-oriented on a societal level—such works, for example, as Faust II, Ibsen's late plays, Strindberg's expressionist works, and Albee's Tiny Alice.
Spirit Cult Festivals in South Kanara
Authors: Ashton Martha Bush 
Published: April 2006

On the southwest coast of India, between the mountain rangeof the Western Ghats and the Arabian Sea, lies the South Kanara District of Karnataka State. Here, paddy fields and plantations of palm, mango, cashew and banana alternate with patches of thick jungle forest. In this lush setting, devotees of nearly three hundred cults meet in nightlong sessions offering worship to locally unique spirit deities. Some of these spirits are believed to have been sent to earth by Hindu Gods; others are considered the souls of persons who long ago died violent and untimely deaths. Yet others are recent ancestors troubling their descendants. As spirits have benevolent and malevolent aspects and are believed to possess power over human health, fertility and fortune and over the land and cattle, they must be ritually propitiated.Each spirit has its own form, mythic history, special powers and propitiatory requirements. Therefore the worship of each spirit differs somewhat from that of all others.
David Gordon's What Happened
Authors: Barr Burt 
Published: April 2006

David Gordon's dance piece, What Happened, opened at the American Theatre Lab, in September, 1978.The stage is well-lighted when seven women enter. Some of the women are wearing white walking shorts with kneesocks, others are in white pants, and all are wearing white tops. Across the width and depth of the stage dancers take random positions, paces away from one another. They face the audience, looking straight ahead, arms at their sides—a group of women simply being themselves.A car being started is heard; the car moves away, then there is a crash, followed by police and ambulance sirens. When the sound of sirens dies in the distance, the women begin speaking and moving, the stage is awash in words and gestures.Over the sweeping view of the stage the dancers turn and pivot, some take steps, all of them talk, gesture, but none leave the given spheres in which they began.
Pierrot Assassin of His Wife
Authors: Margueritte Paul 
Published: April 2006

Head and hands, of plaster white, protrude from a white cloak, lownecked and pleated, with huge buttons. The head, eyes, and lips are clearly marked in black and red: in this fashion the look in the right eye—the other eye is closed—and the laugh puckering a single corner of the mouth acquire animation. Forehead enlarged by a white headband which is gripped by a second band—the traditional one—in black velvet. The hands, also of plaster, and the wrists, beneath the ample and flowing sleeve, have narrow cuffs. Broad trousers which disclose the Instep and shoes with silver buckles.N.B. Pierrot seems to speak?—Pure literary fictionl—Pierrot is mute, and this drama, from start to finish, mimed.CurtainThe room with its paneling of dark old oak is dim and gloomy; against the wall, here a wardrobe, there a dresser; a chair to the right, a table to the left, bottles on the floor, their necks broken.
The C.C.C. Murder Mystery
Authors: Kreizenbeck Alan 
Published: April 2006

It is six o'clock on a spring day in rural Virginia. The year is 1938, and in a small C.C.C. camp located near Charlottesville the enrollees are just finishing their evening meal. (The C.C.C—Civilian Conservation Corps—was the relief agency created in 1933 to employ jobless young men on land and forest reclamation projects.) Talk of the day's work is interrupted by a large black automobile that roars to a stop in front of the mess hall.A uniformed man jumps from the car, rushes into the hall, and, flashing a sheriff's badge, demands to see the camp commander. The two men move to a corner of the room where they engage in an animated conversation. Everyone else is silent, straining to hear what is being said. The consultation ends, and the sheriff pounds on the nearest table for attention.
The Haifa Theatre Project Group
Authors: Belkin Ahuva 
Published: April 2006

A Bike for a Year and Bars, both recent productions by the young actors of the Haifa Theatre Project Group, raised a two fold debate with both the public and theatre critics. One issue involved the artistic qualities of the shows as they reached the stage; the other concerned the social settings against which they were produced—for both productions were the results of special experiments in theatrical activity.The initiator of the Haifa Theatre Project Group was Nola Chilton, a newcomer to Israel from the United States. A former Lee Strasberg student and now a member of a kibbutz, she is a resident director with the Haifa Municipal Theatre. Her most successful work there was based on a collectively compiled social research which evolved, over a prolonged period of study and experiment, into a stage-documentary.
The New Mime Festival at Dance Theatre Workshop
Authors: Cunningham Kitty 
Published: April 2006

Mime in America today is a many-faceted art form without a single clear definition or a place to call its own. Mime is sometimes joined with theatre, sometimes placed with dance. To some people it is street mime or clowns but since 1955, when Marcel Marceau took the country by storm, most people associate mime with white-face illusionary pantomime vignettes, if they think of mime at all.When David White produced four American mime artists in September 1980 under the heading “New Mime: New Investigations in a Theatre of Movement” at the Dance Theatre Workshop, it was no accident that the word “new” was used twice in the title. By presenting some of the most imaginative concert artists working in mime today, White took an innovative step toward reaching a fresh audience for what has been consistently a neglected stepchild of the arts.
Flow‐through drying of porous media
Authors: Mahadevan Jagannathan , Sharma Mukul M. , Yortsos Yannis C. 
Published: April 2006

AbstractThe flow of a gas (saturated or dry) through a porous medium, which is partially occupied by a liquid phase, causes evaporation. The latter occurs, even if the inlet gas is fully saturated, as a result of volume expansion. This process, referred to as flow‐through drying, is important in a variety of natural and industrial applications, such as convective drying, fuel cells, and natural gas production, which is the context of this work. In this article, a mathematical model is developed to understand the process and to predict drying rates and the evolution of liquid saturation profiles. The model includes the effects of gas compressibility and capillarity. Compressibility effects account for the evaporation into the saturated gas phase, whereas the capillary pressure gradients cause the liquid flow that leads to spreading of the saturation profile. Two important parameters, a normalized viscous pressure drop across the medium and capillary “wicking” number, control the two respective regimes. Capillary‐driven flow from regions of high saturation to regions of low saturation leads to more uniform saturation profiles or spreading drying fronts. The results are compared against experimental data obtained by X‐ray imaging. © 2006 American Institute of Chemical Engineers AIChE J, 2006
Enantioselective addition of diethylzinc to aldehydes catalyzed by titanium(IV) complexes of n‐sulfonylated β‐amino alcohols with four stereogenic centers
Authors: Hsieh Sheng‐Hsiang , Gau Han‐Mou 
Published: April 2006

AbstractAn N‐sulfonylated β‐amino alcohol (R,S,S,R)‐9 with four stereogenic centers is prepared. The titanium complex of 9 is an effective catalyst to induce excellent enantioselectivities for diethylzinc addition to aromatic aldehydes with ee values up to 99%. The feature of doubling the quantity of Ti(O‐i‐Pr)4 required relative to the catalytic system of the Ti complex of bidentate N‐sulfonylated β‐amino alcohols suggests that the two N‐sulfonylated β‐amino alcohol moieties in 9 behave as two independent bidentate ligands in the catalytic system. The results obtained using ligand 15 having one N‐sulfonylated β‐amino alcohol blocked support the argument of two independent active bidentate moieties in 9. Chirality, 2006. © 2006 Wiley‐Liss, Inc.
Enantiomer separation of 1,4‐sulfanylalcohols by conventional and low‐temperature gas chromatography
Authors: Filippi Jean‐Jacques , Fernandez Xavier , Loiseau André‐Michel , Lizzani‐Cuvelier Louisette , Meierhenrich Uwe J. 
Published: April 2006

AbstractSince 1990, the family of organosulfur molecules has assumed increasing importance in pheromone, flavour, and fragrance chemistry. Depending on the constitution of the functional groups, various volatile sulfur‐containing compounds are chiral. However, hitherto it has been impossible to study the chirality of 1,4‐sulfanylalcohols, since no adequate enantioselective analytical technique has been available. Here we report on the enantiomer separation of ten volatile 1,4‐sulfanylalcohol homologues by applying an heptakis(6‐O‐tert‐butyldimethylsilyl‐2,3‐di‐O‐methyl)‐β‐cyclodextrin phase, involving in some cases the use of a low‐temperature gas chromatographic (ltGC) technique. The results are expected to open research potential on the asymmetry of volatile organosulfur molecules, particularly in the fields of pheromone, flavour, and fragrance research. Chirality 18:559–561, 2006. © 2006 Wiley‐Liss, Inc.
Cover Picture: Synthesis and Characterization of PY2‐ and TPA‐Appended Diphenylglycoluril Receptors and Their Bis‐CuI Complexes (Eur. J. Org. Chem. 10/2006)
Authors: Sprakel Vera S. I. , Elemans Johannes A. A. W. , Feiters Martin C. , Lucchese Baldo , Karlin Kenneth D. , Nolte Roeland J. M. 
Published: April 2006

AbstractThe cover picture shows the superposition of a synthetic model of the dinuclear copper enzyme catechol oxidase over the surface and active site of this enzyme. The model is the bis‐CuI complex of a ligand‐appended diphenylglycoluril basket. This combines a reactive dinuclear copper site (the CuI ions held by the ligands) for the binding and activation of molecular oxygen with a binding site (the diphenylglycoluril clip) for aromatic substrates to be oxidized. Details on this are discussed in the article by M. C. Feiters et al. on p. 2281 ff.
Visitors or immigrants? International students in the United States
Authors: Hazen Helen D. , Alberts Heike C. 
Published: April 2006

AbstractEven though international students are officially temporary migrants, many eventually become immigrants to the United States. Despite the large number of students who adjust their status, little is known about their migration intentions and decisions. We used a questionnaire sent to international students at the University of Minnesota to investigate these migration intentions. Here we report the factors that students consider in deciding whether to stay in the US or return to their home country on completion of their studies, and how these factors vary by nationality or other characteristics, such as gender or field of study. We also investigate whether international students see their stay in the US as temporary or as a springboard towards permanent immigration. Our findings suggest that few students arrive in the US with the intention of immigrating permanently. Instead, a wide variety of professional, societal and personal factors influence students in an ongoing decision‐making process. Broadly speaking, economic and professional factors typically act as strong incentives to stay in the US, while personal and societal factors tend to draw students back to their home countries. In the long run, a natural progression of professional and personal decisions leads many to become permanent immigrants. Copyright © 2006 John Wiley & Sons, Ltd.
Turbulent dispersion of particles in self-generated homogeneous turbulence
Authors: Parthasarathy R. N. , Faeth G. M. 
Published: April 2006

Turbulent dispersion of particles in their self-generated homogeneous turbulent field was studied both experimentally and theoretically. Measurements involved nearly monodisperse spherical glass particles (nominal diameters of 0.5, 1.0 and 2.0 mm) falling with uniform particle number fluxes in a nearly stagnant water bath. Particle Reynolds numbers based on terminal velocities were 38, 156, and 545 for the three particle sizes. The flows were dilute with particle volume fractions less than 0.01%. Measurements included particle motion calibrations, using motion-picture shadowgraphs; and streamwise and cross-stream mean and fluctuating particle velocities, using a phase-discriminating laser velocimeter. Liquid-phase properties were known from earlier work. Particle properties were predicted based on random-walk calculations using statistical time-series methods to simulate liquid velocities along the particle path.Calibrations showed that particle drag properties were within 14% of estimates based on the standard drag correlation for spheres, however, the particles (particularly the 1.0 and 2.0 mm diameter particles) exhibited self-induced lateral motion even in motionless liquid due to eddy-shedding and irregularities of shape. Particle velocity fluctuations were primarily a function of the rate of dissipation of kinetic energy in the liquid since this variable controls liquid velocity fluctuations. Streamwise particle velocity fluctuations were much larger than cross-stream particle velocity fluctuations (2–5:1) largely due to varying terminal velocities caused by particle size variations. Cross-stream particle and liquid velocity fluctuations were comparable owing to the combined effects of turbulent dispersion and self-induced motion. Predicted mean and fluctuating particle velocities were in reasonably good agreement with the measurements after accounting for effects of particle size variations and self-induced motion. However, the theory must be extended to treat self-induced motion and to account for observations that this motion was affected by the turbulent environment.
Instability and transition of disturbed flow over a rotating disk
Authors: Faller Alan J. 
Published: April 2006

Disturbed flow over a rotating disk can lead to transition of the von Kármán boundary layer at a much lower Reynolds number, Re, (i.e. smaller radius) than that due to the well-known Type 1 stationary mode of instability. This early transition is due to the excitation of the Type 2 instability, similar to that found in the Ekman layer. Detailed numerical values of the growth rates, phase speeds, group velocities, neutral curves, and other characteristics of these two instabilities have been calculated over a wide range of parameters. Neutral curves for the Ekman and Bödewadt boundary layers also are presented. The minimum critical Reynolds numbers for the von Kármán, Ekman and Bödewadt layers are Rec(2) = 69.4, 54.3, and 15.1 with wavelengths L = 22.5, 20.1, and 16.6 and at angles ε = −19.0°, −23.1°, and −33.2°, respectively. These minimum critical values frequently do not well describe laboratory observations, however, because at larger Re other modes grow more rapidly and dominate the flow.The computed results are in excellent agreement with laboratory observations wherever comparison is possible. The growth of representative Type 1 instabilities with radius is shown to lead to N-factors greater than 9 at Re = 520 as appears to be necessary for transition to turbulence by the interaction of Type 1 with the basic flow. The growth of Type 2 instabilities with radius can lead to three additional mechanisms of transition. The necessary levels of excitation of Type 2 for these different mechanisms are estimated.A sequence of photographs from a ciné film illustrate one of the transition mechanisms discussed: the interaction of Type 2 instabilities and a secondary instability that is nearly perpendicular to the Type 2 vortices.
Management of the transgender voice
Authors: McNeill E J M 
Published: April 2006

Transsexualism is a condition involving a paradoxical feeling of belonging to the opposite sex. Acquiring a sex-appropriate voice is a crucial part of the patient gaining acceptance in their new gender. Speech and language therapists and otolaryngologists play an important role in influencing communication behaviour in transgender patients by altering the fundamental frequency of speech to one acceptable for the patient's sex.Review of the literature suggests that speech and language therapy is successful at creating an acceptable fundamental frequency in transgender patients, as well as influencing other communication behaviours. Laryngeal surgery, such as cricothyroid approximation, has an important role in raising the fundamental frequency in those who do not achieve acceptable voice via non-surgical means. There is little information on patient satisfaction and quality of life measures. Research is currently underway to explore this aspect further.