831 resultados para Will Eisner


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Project POWER utilized participatory action research to critically examine issues facing students in an urban high school, setting the stage for the co-creation of spaces for student-teacher dialogue. The project culminated in a dialogue between the students and their future teachers at a university in Miami, Florida.

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This work was built aiming to present how they built the speech of the presidential administration of George W. Bush to engender the Wars on Terror. Through an analysis of sources, magazines, newspapers and official speeches of the President; construct a survey that shows the process of development discourse of the U.S. government in order to make credible to the world the existence of weapons of mass destruction in Iraq. To accomplish this feat, the first attempts to deconstruct the work that would be the terrorist and their actions against the hegemonic governments, and perform an important discussion with the theme of the story of the present time and the need for a search like this nowadays. To deconstruct the idea of being a terrorist present as President George W. Bush uses the attacks of September 11th and fear as tools to build a war with a real intentionality toward the conquest of Iraqi oil and finish a task that his father, George H. Bush had left unfinished.

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General note: Title and date provided by Bettye Lane.

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The Transatlantic Trade and Investment Partnership – also known as TTIP – could be the next casualty in the Brexit fallout. But not in the way you might expect. The controversial trade agreement between the EU and United States could well fall apart, only for the UK to pick up the pieces for its own trade deal.

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Il presente elaborato ha come obiettivo l’analisi della traduzione di alcuni estratti del libro di George Carlin "When will Jesus bring the pork chops?" L’opera si presenta come una raccolta di testi satirici, tutti dello stesso autore, che trattano temi ritenuti spesso tabù, quali, tra gli altri, l’handicap fisico e mentale, la morte e l’abuso. L’autore, conosciuto per la sua grande capacità oratoria, il suo humor dark e per l’uso di un linguaggio spesso scurrile e molto vario in tal sen-so, è uno tra i comici americani più conosciuti e stimati in tutto il mondo. La traduzione di un autore come Carlin è un esercizio importante proprio per la complessità del linguaggio che il comico utilizzava e per le tematiche che trattava, ma non solo; può infatti portare a una mag-giore consapevolezza sul ruolo del traduttore e sulle considerazioni, oltre che di tipo tecnico e pratico, teoriche ed etiche che questo lavoro richiede. Nei capitoli iniziali verranno presentate alcune teorie molto utili ed interessanti sia dal punto di vista pratico sia da quello dell’inquadramento teorico. Nel capitolo sul verbally expressed humour si presenteranno alcuni studi sui problemi principali nella traduzione delle opere umoristiche mentre, nel capitolo finale, si tratterà l'analisi della proposta di traduzione di alcuni frammenti dell’opera di Carlin con un commento sulle scelte applicate.

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The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

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Although it has been argued that LMX is a phenomenon that develops over time, the existing LMX literature is largely cross-sectional in nature. Yet, there is a great need for unraveling how LMX develops over time. To address this issue in the LMX literature, we examine the relationships of LMX with two variables known for changing over time: job performance and justice perceptions. On the basis of current empirical findings, a simulation deductively shows that LMX develops over time, but differently in early stages versus more mature stages. Our findings also indicate that performance and justice trends affect LMX. Implications for LMX theory, and for longitudinal research on LMX, performance, and justice are discussed.

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There is a wealth of literature on the design of ex post compensation mechanisms for natural disasters. However, more research needs to be done on the manner in which these mechanisms could steer citizens toward adopting individual-level preventive and protection measures in the face of flood risks. We have provided a comparative legal analysis of the financial compensation mechanisms following floods, be it through insurance, public funds, or a combination of both, with an empirical focus on Belgium, the Netherlands, England, and France. Similarities and differences between the methods in which these compensation mechanisms for flood damages enhance resilience were analyzed. The comparative analysis especially focused on the link between the recovery strategy on the one hand and prevention and mitigation strategies on the other. There is great potential within the recovery strategy for promoting preventive action, for example in terms of discouraging citizens from living in high-risk areas, or encouraging the uptake of mitigation measures, such as adaptive building. However, this large potential has yet to be realized, in part because of insufficient consideration and promotion of these connections within existing legal frameworks. We have made recommendations about how the linkages between strategies can be further improved. These recommendations relate to, among others, the promotion of resilient reinstatement through recovery mechanisms and the removal of legal barriers preventing the establishment of link-inducing measures.