'he perceives himself as a caterpillar […]' constructions of the disabled subject in the critical response to Alfred Hitchcock's 'Rear Window'

This chapter focuses on critical responses to Alfred Hitchcock’s Rear Window, especially their construction of disability. The suggestion is that such criticism takes the disabled body to be both necessary and superfluous to the meaning of the film, a difficulty that, I argue, can be read more widely within film theory. Ever since Christian Metz’s ‘the Imaginary Signifier’, the condition of being ‘bound to a wheelchair’ is understood to have a resonance for theories of film spectatorship, but only ever in a sense that does away with the wheelchair as a mark of difference.

The three faces of bounded reliability: Alfred Chandler and the micro-foundations of management theory

Alfred Chandler, the celebrated business historian, provided detailed descriptions of the reasons for failed human commitments and the managerial tools needed to prevent/remediate such failings in the context of large business firms. Chandler's historical narrative identifies three distinct “faces” of bounded reliability—opportunism, benevolent preference reversal, and identity-based discordance—as the main drivers of commitment failure. Adopting bounded reliability (BRel) as a micro-foundation in management studies will raise the quality and relevance of scholarly recommendations to improve managerial decision making and action, because analysis of BRel challenges closely mirrors the real-world problems facing practicing managers.

Théâtre du Grand-Guignol : Les mécanismes de la peur dans deux pièces du théâtre médical d’André de Lorde et Alfred BinetL’Obsession et Une leçon à la Salpêtrière .

Le Grand-Guignol n’a reçu que peu d’attention critique sérieuse jusqu’à la fin des années 1980. Ce petit théâtre a pendant 65 ans, de 1897 à 1962, offert des pièces d’un genre nouveau mêlant terreur, violence et souvent érotisme. Le succès était au rendez-vous et le Théâtre du Grand-Guignol est longtemps resté une attraction incontournable de Paris. Les pièces choisies pour ce mémoire sont issues de ce répertoire et ont cela de particulier qu’elles ont été écrites en collaboration entre un écrivain, André de Lorde, et un psychologue, Alfred Binet. Malgré leurs différences, ces pièces ont une constante, un point commun : elles suscitent toutes la peur chez le spectateur. C’est précisément la façon dont Binet et de Lorde établissent cette peur à travers leurs pièces qui sera l’objet d’étude de ce mémoire. Ce mémoire se limite à l’analyse de deux œuvres en particulier : L’Obsession, et Une leçon à la Salpêtrière. Appréhender la notion de peur dans une œuvre théâtrale impose de réfléchir non seulement aux thèmes développés mais également à la construction dramatique du récit et à sa mise en scène. Dans le cas spécifique d’une pièce Grand-Guignol, il y aura une dimension supplémentaire à inclure : ce que l’on peut appeler « l’expérience Grand-Guignol ». De quelles façons le fait même d’aller voir une pièce dans ce théâtre participait-il à l’anticipation et au sentiment de peur nécessaire à l’efficacité des pièces ?  Après un bref rappel de l’histoire du Grand-Guignol, les causes externes comme le quartier de Montmartre, mais aussi les habiles coups publicitaires des premiers directeurs artistiques ainsi que la configuration du théâtre lui-même sont étudiées pour montrer comment elles ont largement contribué à créer un véritable mythe autour du Grand-Guignol. Dans la deuxième partie, une analyse spécifique des deux pièces mentionnées précédemment est faite. Les questions suivantes ont été posées : sur quels thèmes pouvaient bien jouer les auteurs pour toucher leur public ? En quoi ces thèmes reflétaient-ils les peurs de l’époque, c’est-à-dire de la « Belle Epoque » ? Dans la dernière partie, une analyse textuelle et scénique a été faite au cours de laquelle il a été tenté de comprendre comment les auteurs provoquent et entretiennent la peur et l’angoisse à travers à la fois la construction dramatique des pièces et leurs jeux de scène.

Otto Klitgord at 1952 Commencement

Otto Klitgord (second from left) is pictured with other guests at the Hotel St. George, site of the February 1952 commencement ceremony of the college. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Otto Klitgord and Andrew Clauson

Otto Klitogord (left) is depicted awarding the Hon. Andrew Clauson (right) with membership in TPS - June 26, 1952. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Otto Klitgord and Lawrence J. Jarvie

Otto Klitgord (left) and Lawrence Jarvie (right) are pictured at a college dinner. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Otto Klitgord at 1951 Commencement Ceremony

Otto Klitgord is presiding over the May 24, 1951 commencement ceremony of the New York State Institute of Applied Arts and Sciences held in Carnegie Hall. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Otto Klitgord and Major Benjamin Namm

Otto Klitgord is depicted giving Benjamin H. Namm, chairman of the college's Board of Trustees a degree. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Otto Klitgord

This photo shows Otto Klitgord speaking at a college event. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Alfred Agache em Curitiba e sua visão de urbanismo

Entre 1940 e 1943, na procura de uma imagem condizente com sua condição de Capital de Estado e tentando acompanhar as grandes transformações urbanas que ocorriam na época, Curitiba contrata o arquiteto e urbanista francês Donat-Alfred Agache (1875-1959), que recém executara o Plano do Rio de Janeiro (1927), para elaborar o Plano de Urbanização para Curitiba. Fato que acaba se tornando o primeiro grande impacto urbano-arquitetônico na sociedade paranaense do século XX. A presente dissertação contextualiza essa proposta urbanística, a partir da formação profissional de Agache na Europa, sua participação na Sociedade Francesa de Urbanistas, o modo didático de fazer urbanismo, sua experiência no Rio de Janeiro e demais trabalhos no Brasil. Além de um simples Plano de Urbanização para Curitiba, Agache demonstra técnica e habilidade em enfrentar problemas e hábitos sociais, características que impõem sua ampla visão de cidade. O processo desencadeado por Agache em 1943, comparado com a realidade urbana anterior, revoluciona a relação entre o homem e seu meio na forma de ver e fazer arquitetura urbana, acontecimento que deixa um legado cultural paradigmático, com inúmeros desdobramentos, fundamental para o urbanismo da Cidade de Curitiba.