Katolilaiset ja katolinen kirkko elokuvissa

Kirjallisuusarvostelu

De-escalation of commitment management strategy in IT project management methodology: case of ERP implementation project by IT consulting company

According to several surveys and observations, the percentage of successfully conducted IT projects without over-budgeting and delays in time schedule are extremely low. Many projects also are evaluated as failures in terms of delivered functionality. Nuldén (1996) compares IT projects with bad movies; after watching for 2 hours, one still tries to finish it even though one understands that it is a complete waste of time. The argument for that is 'I've already invested too much time to terminate it now'. The same happens with IT projects: sometimes the company continues wasting money on these projects for a long time, even though there are no expected benefits from these projects. Eventually these projects are terminated anyway, but until this moment, the company spends a lot. The situation described above is a consequence of “escalation of commitment” - project continuation even after a manager receives negative feedback of the project’s success probability. According to Keil and Mähring (2010), even though escalation can occur in any type of project, it is more common among complex technological projects, such as IT projects. Escalation of commitment very often results in runaway projects. In order to avoid it, managers use de-escalation strategies, which allow the resources to be used in more effective. These strategies lead to project termination or turning around, which stops the flow of wasted investments. Numbers of researches explore escalation of commitment phenomena based on experiments and business cases. Moreover, during the last decade several frameworks were proposed for de-escalation strategy. However, there is no evidence of successful implementation of the de-escalation of commitment strategy in the literature. In addition, despite that fact that IT project management methodologies are widely used in the companies, none of them cover the topic of escalation of commitment risks. At the same time, there are no researches proposing the way to implement de-escalation of commitment strategy into the existing project management methodology The research is focused on a single case of large ERP implementation project by the consulting company. Hence, the main deliverables of the study include suggestions of improvement in de-escalation methods and techniques in the project and in the company. Moreover, the way to implement these methods into existing project management methodology and into the company general policies is found.

Welding current effect on diffusible hydrogen content in flux cored arc weld metal

The application of flux cored arc welding (FCAW) has increased in manufacturing and fabrication. Even though FCAW is well known for its good capability in producing quality welds, few reports have been published on the cause of the relatively high diffusible hydrogen content in the weld metal and its relation with the ingredients used in the wire production and with the welding parameters (mainly welding current). This paper describes experiments where data obtained from weld metal diffusible hydrogen analysis, metal droplet collection, and high-speed recording of metal droplet transfer were used to evaluate the effect of welding current on diffusible hydrogen content in the weld metal. The results from gas chromatography analysis showed that weld metal hydrogen content indeed increased with welding current. A polynomial regressional analysis concluded that hydrogen increase with current was better described by a linear function with proportional constant of approximately 0.7 or 70%. Different from the GMA welding transfer behavior, statistical analysis showed only a small increase in metal droplet size with increasing current. The metal transfer mode remained in the globular range for currents between 100 and 150 A. The most surprising findings were with the high-speed cinematography recording. Observing the high speed movies, it was possible to see that at low current, "unmelted" flux sporadically touched the weld pool but at higher current, the flux remained touching the weld pool during the whole time of droplet formation and transfer. It is believed that since the flux has ingredients that contain hydrogen, hydrogen passes through the arc undisturbed, going to the weld bead intact and increasing the hydrogen content in the weld metal. Another important observation is regarding to droplet size. Droplet size increased with increasing current because forces from decomposed gases from the flux could sustain the droplets, retarding their transfer and allowing them to grow.

Chapman Family Home Movie

Excerpts from home movies taken of various Chapman family members, including Charles C. Chapman, during the 1930s and 1940s.

'What ever happened to breakdancing?' : transnational b-boy/b-girl networks, underground video magazines and imagined affinities

In 1997, Paul Gilroy was able to write: "I have been asking myself, whatever happened to breakdancing" (21), a form of vernacular dance associated with urban youth that emerged in the 1970s. However, in the last decade, breakdancing has experienced a massive renaissance in movies (You Got Served), commercials ("Gotta Have My Pops!") and documentaries (the acclaimed Freshest Kids). In this thesis, 1 explore the historical development of global b-boy/bgirl culture through a qualitative study involving dancers and their modes of communication. Widespread circulation of breakdancing images peaked in the mid-1980s, and subsequently b-boy/b-girl culture largely disappeared from the mediated landscape. The dance did not reemerge into the mainstream of North American popular culture until the late 1990s. 1 argue that the development of major transnational networks between b-boys and b-girls during the 1990s was a key factor in the return of 'b-boying/b-girling' (known formerly as breakdancing). Street dancers toured, traveled and competed internationally throughout this decade. They also began to create 'underground' video documentaries and travel video 'magazines.' These video artefacts circulated extensively around the globe through alternative distribution channels (including the backpacks of traveling dancers). 1 argue that underground video artefacts helped to produce 'imagined affinities' between dancers in various nations. Imagined affinities are identifications expressed by a cultural producer who shares an embodied activity with other practitioners through either mediated texts or travels through new places. These 'imagined affinities' helped to sustain b-boy/b-girl culture by generating visual/audio representations of popularity for the dance movement across geographical regions.

Letter - E.C. Schmon to Arthur A. Schmon, 21 July 1916

The letter describes Eleanore Celeste's time away with her brother. She has spent her time canoeing, playing golf, dancing and plans to attend the movies. The next day is a sailing trip to see Plymouth Rock. The next week she will be in Connecticut and then home.

Letter - E.C. Schmon to Arthur A. Schmon, 24 July 1918

This letter mentions an outing to the Mt. Prospect Movies to see Forbes Robertson in "The Passing of the Third Floor Back". This letter is labelled number 132.

Letter - E.C. Schmon to Arthur A. Schmon, 28 July 1918

She reflects on her time with Arthur the year before and asks him to take a leave at Xmas if the war has not ended by then. Eleanore Celeste has been to the movies to see "Pershing's Crusaders".

Letter - E.C. Schmon to Arthur A. Schmon, 16 September 1918

Eleanore Celeste mentions that planes were performing stunts and bands were playing so they made their way to Branch Brook Park to see the New Jersey State Militia Reserve. She also mentions plans to go to the movies and see "The Queen of the Sea" starring Annette Kellerman.

Letter - E.C. Schmon to Arthur A. Schmon, 31 August 1918

Eleanore Celeste writes about her outing to the movies. She talks about their wedding and asks whether they can have a "double right marriage". She describes friends who have been married recently and both the bride and groom wear rings. She also mentions that Colonel McCormick had tried to call her, but she wasn't there to speak with him.

Letter - E.C. Schmon to Arthur A. Schmon, Saturday P.M.

The letter was written after the two were married; it is addressed "Hubbie". She mentions shopping for flooring for their home in Shelter Bay. She also went to the movies to see "The Eyes of Youth" starring Clara Kimball.

Réseau de recherche E-Inclusion, thème 3 : Audiovision interactive et adaptable, projet 3.1, rapport final

Le Réseau de recherche E-Inclusion a pour but de permettre à tous les Canadiens d’accéder au contenu informationnel de documents audiovisuels. Le thème 3 du projet, Audiovision interactive et adaptable, avait pour but d'offrir des lignes directrices à l'intention de producteurs de films et d'émissions de télévision concernant le contenu de textes d'audiovision, et de mesurer l'utilité potentielle, pour la production de textes d'audiovision à partir de mots-clés générés dans d'autres contextes.

Aspects de droit d'auteur liés à la distribution d'oeuvres cinématographiques par Internet au Canada

"Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de maîtrise en droit des technologies de l'information"

L’espace social alimentaire d’un village provençal : vivre une cuisine régionale au quotidien

Les six dimensions du concept d’espace social alimentaire ont été structurées pour faciliter l’analyse de l’aspect proprement social de l’acte alimentaire. Analysée à travers ce concept, une cuisine régionale révèle le vécu alimentaire des personnes qui la consomment. Car la promotion d’une cuisine régionale se base sur des produits emblématiques qui ne sont pas nécessairement consommés au quotidien. Dans le village provençal de Sault, village resté à peu près hors des sentiers du tourisme de masse, je m’intéresserai aux habitudes alimentaires de la population. Ces habitudes correspondent-elles à ce que nous a habitué la promotion culinaire et diététique de la cuisine provençale ? En abordant l’aspect proprement social de l’acte alimentaire des habitants de Sault, je verrai la particularité composite des habitudes de consommation alimentaire illustrée par une identité provençale, un discours micro-régional et des habitudes françaises.

Vulgaire! Pervers! Dégradant! : le film d'exploitation et le cinéma québécois

Dans l’historiographie du cinéma québécois, un certain manque est notable concernant le cinéma populaire du début des années 1970 (1968-1975). Historiens et chercheurs accordèrent peu d’importance à cette section de notre cinématographie par déni d’un type de cinéma populaire exploitant la sexualité. Ce qui fut péjorativement appelé la vague de « films de fesses » n’eut droit à aucune étude académique sérieuse et nous proposons, donc, de la revisiter afin de mieux comprendre son apparition et son existence. Dans ce dessein, nous suggérons de l’aborder sous l’angle du cinéma d’exploitation, cinéma populaire méconnu et controversé. Pour cela, nous devrons expliquer les contours de ce cinéma puisque, lui aussi, souffre d’un léger manque d’études sérieuses et approfondies. Nous ferons au premier chapitre un panorama de la norme cinématographique qu’est le cinéma hollywoodien, afin de bien cerner, au deuxième chapitre, le cinéma d’exploitation qui selon nous s’efforce d’être en constante opposition avec le cinéma mainstream. Par la suite, nous mettrons en place le contexte socio-historique et cinématographique qui permit l’apparition d’un cinéma d’exploitation québécois et nous ferons l’énumération des différents titres qui se retrouvent dans ce corpus filmique. Les chapitres IV et V présenteront les analyses de différentes œuvres qui, selon nous, récupèrent de façon partielle ou totale des éléments du cinéma d’exploitation afin de créer une résistance culturelle quant au cinéma dominant américain.