Come-See-Me Festival Records - Accession 1408

The Come-See-Me Festival Records consist of papers, photographs, meeting minutes, scrapbooks, media kits, publicity kits, awards, applications, invitations, bylaws, guidelines, histories, correspondence, promotions and advertisements, posters, and memorabilia from the Come-See-Me Festivals from the 1980s to 2013.

501(C)(3) Nonprofit Organizations in Nebraska: 2008

Nonprofit organizations are important to the quality of life in communities. They exist in complex variety and include church congregations, private schools, service clubs, business leagues, social and recreational clubs, labor unions, farm bureaus, community theaters, neighborhood organizations and many more. Only the largest of nonprofits are likely to have employees, with most relying upon volunteers to meet their human resource requirements. They obtain their financial resources through donations, investments, grants and fee based activities, such as festivals and educational programs.

Il critico teatrale come operatore di scrittura scenica. La critica teatrale italiana tra pratica organizzativa e utilizzo dei nuovi media nel Nuovo Teatro e in alcune esperienze dal 2003 ad oggi

La crisi del “teatro come servizio pubblico” degli Stabili, Piccolo Teatro in testa, si manifesta allo stadio di insoddisfazione interna già alla fine degli anni Cinquanta. Se dal punto di vista della pratica scenica, la prima faglia di rottura è pressoché unanimemente ricondotta alla comparsa delle primissime messe in scena –discusse, irritanti e provocatorie- di Carmelo Bene e Quartucci (1959-60) più difficile è individuare il corrispettivo di un critico-intellettuale apportatore di una altrettanto deflagrante rottura. I nomi di Arbasino e di Flaiano sono, in questo caso, i primi che vengono alla mente, ma, seppure portatori di una critica sensibile al “teatro ufficiale”, così come viene ribattezzato dopo il Convegno di Ivrea (1967) il modello attuato dagli Stabili, essi non possono, a ben vedere, essere considerati i veri promotori di una modalità differente di fare critica che, a partire da quel Convegno, si accompagnerà stabilmente alla ricerca scenica del Nuovo Teatro. Ma in cosa consiste, allora, questa nuova “operatività” critica? Si tratta principalmente di una modalità capace di operare alle soglie della scrittura, abbracciando una progressiva, ma costante fuoriuscita dalla redazione di cronache teatrali, per ripensare radicalmente la propria attività in nuovi spazi operativi quali le riviste e l’editoria di settore, un rapporto sempre più stretto con i mass-media quali radio e televisione e la pratica organizzativa di momenti spettacolari e teorici al contempo -festival, convegni, rassegne e premi- per una forma di partecipazione poi identificata come “sporcarsi le mani”. La seconda parte della tesi è una raccolta documentaria sull’oggi. A partire dal Manifesto dei Critici Impuri redatto nel 2003 a Prato da un gruppo di critici dell'ultima generazione, la tesi utilizza quella dichiarazione come punto di partenza per creare un piccolo archivio sull’oggi raccogliendo le elaborazioni di alcune delle esperienze più significative di questi dieci anni. Ricca appendice di materiali.

„This is TZ power! Kenkey can’t do this!“ : Die performative Aushandlung nationaler Kultur ; das National Festival of Arts and Culture in Ghana /// Arbeitspapiere / Institut für Ethnologie und Afrikastudien ; 92

Der vorliegende Artikel beschäftigt sich mit der performativen Aushandlung nationaler Kultur auf dem National Festival of Arts and Culture, das 2006 in Wa, Nordwestghana, stattfand. Die Autorin nahm an der Vorbereitung und Planung des Festivals in lokalen staatlichen Kulturinstitutionen teil, und beobachtete die Diskussionen um die Repräsentation einer (imaginierten) spezifischen Kultur des Nordens in scharfer Abgrenzung zu der des als dominant und diskriminierend empfundenen Südens. In diesem Zusammenhang werden Fragen der Authentizität und Authentifizierung, wie sie in der Planung und Rezeption diskutiert wurden, aufgegriffen und mit der Konzeption des Festivals als gleichzeitig einheitsstiftendes Vehikel für nationale Identität und als Austragungsort eines Wettbewerbs der Regionen um Anerkennung und Ressourcen in Verbindung gesetzt. Das Festival, so die Argumentation, ist eine cultural performance, die das Wesen einer „Kultur“ nicht nur abbildet, sondern auch die Möglichkeit des Wandels und der Subversion birgt. Performance meint hier also gleichzeitig die Aufführung und das Skript der Diskurse, die der Aufführung Bedeutung zuschreiben. Diesen doppelten Ansatz verfolgt der Artikel durch die Verknüpfung von Festivalbeobachtungen und Komiteesitzungsmitschriften im Rahmen der Vorbereitung.

Tracce di cinefilia su Facebook

La mia tesi approfondisce le dinamiche della cinefilia su Facebook: quali relazioni s'instaurano tra lo spettatore cinefilo, e dunque il suo particolare sguardo, e la moltitudine di frammenti di cinema dispersi nella rete; come si sono modificati i rapporti, gli atteggiamenti, i processi di negoziazione, le abitudini e soprattutto i discorsi dei cinefili al cospetto di tracce di cinema sui social network e in particolare su Facebook. Inoltreprovo a dimostrare che la cinefilia è un'esperienza costitutivamente autobiografica, cui il web permette il perpetuare potenzialmente infinito della (auto)narrazione di sé.

Song of the sea: proposta di sottotitolaggio e fansubbing a confronto

The aim of this thesis is to subtitle and analyze the subtitles of the animation movie directed by the Tomm Moore, Song of the Sea. It deals with the adventures of Saoirse, the last of the selkies, the mythological women who turned into seals, and his brother Ben to save the fairies and send them home. Although Italy is a “dubbing country”, I decided to subtitle the film not to affect the original audio track, as the Irish accent and Celtic melodies are a fundamental element in Song of the Sea. I chose this movie because it is a quality product (nominated in 2015 for "The Best Animation Movie”) which deserves to be commercialized outside film festivals. In a second phase, I analyzed my subtitles and compared them to amateur subtitles, created by the SRT Project group, to understand the strategies adopted and the basic differences between the two types of subtitling. My dissertation consists of three chapters. The first provides a general overview of audiovisual translation and language transfer methods, focusing on subtitling. The second chapter introduces the movie in an Irish context, and then analyzes the subtitling process, from the software used, to the translation strategies adopted. Finally, the third chapter describes the phenomenon of amateur subtitling, and the most important Italian communities of the current years. Moreover, I analyzed SRT Project fan translation, and asked them a set of questions about amateur subtitling and the translation of Song of the Sea, in order to understand this world and the fansubbing process. The Appendix includes my subtitles, as well as the questionnaire.

Il sottotitolaggio per i film festival: due esperienze pratiche

This dissertation aims to examine the field of film festival subtitling by means of the analysis of two subtitling experiences. These experiences will be approached both on a methodological and on a practical level in order to analyse how subtitlers put theory into practice. This approach will also help underline the existing differences in work methodology as far as different work experiences are concerned. The subtitling experiences examined in this dissertation are part of my internships as a subtitler in two Italian film festivals, namely “Umbria Film Festival” and “900 Fest”. In this dissertation, I chose to focus on the subtitling of two of the audiovisual products I translated. These products are a German documentary titled Befreier und Befreite and a Danish fiction film titled Stille Hjerte. This dissertation is divided into five chapters. Chapter 1 describes audiovisual translation at its most theoretical level, focusing on subtitling criteria and strategies. Chapter 2 examines the concept of film translation, focusing on the distinctive features of documentary translation as a specific genre. This chapter also presents the concept of film festival and provides information concerning the translation policies of festivals. Chapter 3 presents the festivals I worked for and details my internship experiences. Chapter 4 focuses on the German documentary and proposes a number of solutions to its main translation problems. Chapter 5 focuses on the Danish film and offers solutions to its translation problems. At the end of the dissertation, I will provide some comments on my internship experiences as well as on the practice of film festival subtitling.

Pesiqta Rabbati: a text-linguistic and form-analytical analysis of the rabbinic homily

Pesiqta Rabbati is a unique homiletic midrash that follows the liturgical calendar in its presentation of homilies for festivals and special Sabbaths. This article attempts to utilize Pesiqta Rabbati in order to present a global theory of the literary production of rabbinic/homiletic literature. In respect to Pesiqta Rabbati it explores such areas as dating, textual witnesses, integrative apocalyptic meta-narrative, describing and mapping the structure of the text, internal and external constraints that impacted upon the text, text linguistic analysis, form-analysis: problems in the texts and linguistic gap-filling, transmission of text, strict formalization of a homiletic unit, deconstructing and reconstructing homiletic midrashim based upon form-analytic units of the homily, Neusner’s documentary hypothesis, surface structures of the homiletic unit, and textual variants. The suggested methodology may assist scholars in their production of editions of midrashic works by eliminating superfluous material and in their decoding and defining of ancient texts.

L’industrie cinématographique du Cameroun : évaluation et perspectives

L’industrie cinématographique africaine d’aujourd’hui connaît de grandes avancées dans de nombreux pays d’Afrique. Seulement, autant certains pays africains connaissent de grandes avancées, autant d’autres pays voient leur industrie cinématographique traîner le pas. Le Cameroun est un exemple qui illustre à souhait ces pays qui sont à la traîne. Deux constats s’imposent à nous dans ce cas d’espèce. D’un côté, le Ministère de la Culture semble s’essouffler par le rôle qui lui incombe. De ce fait, il est de moins en moins actif et très peu représenté sur le terrain. De l’autre côté, nous observons çà et là de multiples activités. Des festivals, de long et court métrages organisés par des camerounais, ainsi que des rencontres cinématographiques mises sur pied en partenariat avec les représentations culturelles de pays étrangers en présence sur le territoire. Ces initiatives diverses malgré l’atmosphère peu favorable du pays parviennent à impulser une certaine dynamique. Notons tout de même que ces actions restent cantonnées dans les deux principales villes que sont Yaoundé et Douala. Après ce bref aperçu du tableau cinématographique camerounais, deux questions s’imposent à nous : Quelle appréciation peut-on faire du cinéma au Cameroun aujourd’hui ? Quel avenir pour celui-ci ? Telles sont les deux préoccupations auxquelles nous essaierons d’apporter quelques éléments de réponses dans cette étude. // Mots clés : cinéma, Cameroun, bilan, perspectives, initiatives, industrie cinématographique.

Lessons Learned from 'Hall of Socialism': Juxtaposing Finnish-American Radicalism with Today's Protest Movements

Historical accounts of revolutionary movements oftentimes occlude the pleasures of countering hegemony or criticize the “frivolity” of what is perceived to be non-political activities. However, turn of the century Finnish-American socialist theater clubs and early twentieth century Finnish-American communist halls and their uncounted social groups and activities prove to be a rich resource in reconsidering the importance of acknowledging and understanding the role that pleasure has played and should play in political protest. Finnish-American radical activities, especially those condemned already at the time as hall socialism, are important historical precedents to today’s alter-globalization student festivals and protest concerts, midnight raves

Advances in Kartvelian Morphology and Syntax. Contributions to the festival of languages Bremen, 17 Sep to 7 Oct, 2009

Within the scope of Festival of Languages took place in 2009 the Conference Advances in Kartvelian Morphology and Syntax. Selected presentations are presented in this publication. The authors discuss topics such as anaphora in Svan, intonation in Georgien, pragmatics of subordinating clauses in Georgian, but also research on modern developments as SMS-communication in Georgian language area etc. DEUTSCH: Im Rahmen des Festivals der Sprachen fand im Jahre 2009 an der Universität Bremen die Tagung Advances in Kartvelian Morphology and Syntax statt. Ausgewählte Vorträge werden mit dieser Publikation vorgestellt. Die Autoren behandeln unter anderem Themen wie Ana-pher im Svanischen, Intonation im Georgischen, Pragmatik von Nebensätzen des Georgi-schen, aber auch Forschungen über moderne Entwicklungen wie die SMS-Kommunikation im georgischsprachigen Sprachraum usw. CONTENTS: NINO AMIRIDZE, TAMAR RESECK & MANANA TOPADZE GÄUMANN: Preface; KEVIN TUITE: The Kartvelian suffixal intransitive; MANANA KOBAIDZE: Towards the morphological and syntactical classification of Georgian verbs; RENÉ LACROIX: Origin of Sets I–II suffixes in South Caucasian through reanalysis; STAVROS SKOPETEAS & CAROLINE FÉRY: Prosodic cues for exhaustive interpretations: a production study on Georgian intonation; WINFRIED BOEDER: Anaphora in Svan; YASUHIRO KOJIMA : The position of rom and the pragmatics of subordinate clauses in Georgian; NATIA AMAGHLOBELI : Morphological aspects of Georgian SMS language.

El microrrelato como fragmento de un amplio conjunto narrativo en Bartleby y compañía de Enrique Vila-Matas

En Bartleby y compañía Enrique Vila-Matas reúne un gran número de relatos breves y brevísimos de escritores que en cierto momento de su vida dejaron de escribir. La autonomía de estos 'microrrelatos' es parecida a la de los relatos orales que los autores/editores de los siglos XV y XVI reunían en antologías y colecciones de cuentos o libros de caballería y de pastores. Mientras que la invención de la imprenta facilita el desarrollo de texturas más enredadas y un sutil sistema de subordinaciones que confieren una creciente coherencia a amplios conjuntos narrativos, Enrique Vila-Matas opta por una estructura esencialmente paratáctica. Mediante un juego de alusiones a una multitud de hipotextos, esta estructura sugiere un estado de fragmentación y una libertad de asociación que ilustra la temática central del libro, el rechazo de una 'literatura alimenticia' a favor de la literatura del No.

La representación de la prueba caballeresca como aventura familiar en tres imágenes del Ms.P del Libro del cavallero Zifar

El manuscrito P (Biblioteca Nacional de Francia) del Libro del cavallero Zifar es un códice de fines del siglo XV que, debido a las cerca de 240 ilustraciones que contiene, permite apreciar la dinámica particular de producción y recepción de aquellos manuscritos medievales en los que se conjugan el texto y la imagen como configuradores de sentido. A través de la focalización de un grupo de ilustraciones miniadas que dan cuenta de la dinámica de la aventura caballeresca, centrada tanto en Zifar como en su familia, el presente trabajo postula la relación de esas imágenes con el texto en una retórica deudora tanto de la redacción inicial del texto como de su recepción más de un siglo y medio después

El Cid humanístico : La configuración del paradigma caballeresco

Si bien el Cid sigue su camino cuatrocentista en las derivaciones cronísticas y en el romancero épico, se afirma paralelamente a lo largo del siglo xv un nuevo paradigma en torno a Rodrigo, para acercarlo a los esquemas de la actuación caballeresca con que se entraman las biografías o crónicas particulares de héroes reales. Las ponderaciones del héroe en la literatura de la época se vinculan con los principales proyectos de renovación de la caballería, instigados a lo largo de los tres reinados de esta centuria, en especial a los promovidos en el entorno de don Álvaro de Luna y en el marco militar de los Reyes Católicos.