La Implicació de Hollywood en la Segunda Guerra Mundial: el cas Why we fight

Why we fight és un grup de set pel·lícules de format documental que van formar part d’un ampli programa d’informació, formació i propaganda impulsat per l’exèrcit nord-americà, en el moment en què els Estats Units ja s’havien implicat en la Segona Guerra Mundial. És també un dels més reeixits exercicis de retòrica cinematogràfica nord-americana d’aquell període que permet analitzar com els països democràtics van gestionar qüestions tan compromeses com la propaganda de guerra. La pretensió d’aquest treball de recerca és aprofundir en la complexitat ideològica i formal de la sèrie, que faci possible descobrir-ne els orígens, els objectius i la manera com aquests van ser assolits per un grup d’especialistes cinematogràfics, coordinats pel director Frank Capra, tots els quals havien triomfat fins llavors a Hollywood

La Implicació de Hollywood en la Segona Guerra Mundial: el cas Why we fight

Why we fight és un grup de set pel·lícules de format documental que van formar part d’un ampli programa d’informació, formació i propaganda impulsat per l’exèrcit nord-americà, en el moment en què els Estats Units ja s’havien implicat en la Segona Guerra Mundial. És també un dels més reeixits exercicis de retòrica cinematogràfica nord-americana d’aquell període que permet analitzar com els països democràtics van gestionar qüestions tan compromeses com la propaganda de guerra. La pretensió d’aquest treball de recerca és aprofundir en la complexitat ideològica i formal de la sèrie, que faci possible descobrir-ne els orígens, els objectius i la manera com aquests van ser assolits per un grup d’especialistes cinematogràfics, coordinats pel director Frank Capra, tots els quals havien triomfat fins llavors a Hollywood

Estados Unidos en Guerra, Why we fight de Frank Capra. La historia al servicio de la causa aliada

Con la implicación definitiva de los Estados Unidos en la Segunda Guerra Mundial, el gobierno y el alto mando militar decidieron impulsar un amplio programa audiovisual que utilizando la letra impresa, la radio y el cine intentaría explicar –principalmente, aunque no exclusivamente, a millares de civiles reclutados para la ocasión– el porqué de la guerra y la necesaria implicación de los Estados Unidos en la contienda. Naturalmente, a esta voluntad pedagógica se unía otra propagandística. Por lo que respecta al cine, y contando con los destacados antecedentes del cine soviético y las producciones cinematográficas del régimen nazi, se decidió poner en marcha un exhaustivo programa para la producción cinematográfica de documentales que cubriría estos dos aspectos esenciales: el formativo y el propagandístico –bautizado, eufemísticamente, como “orientación moral”. De entre las producciones cinematográficas de orientación moral, impulsadas por el ejército, destaca, por su ambición y calidad intrínseca, una serie de siete documentales presentada bajo el título genérico de Why We Fight

La Razón frente a la imposición en las estrategias didáctico-propagandísticas del ejército estadounidense durante la Segunda Guerra Mundial: "Why We Fight" de Frank Capra como ejemplo

El presente artículo analiza algunos aspectos de los métodos de formación y propaganda destinados a los sol-dados del ejército estadounidense al enfrentarse a la implicación de su país en la Segunda Guerra Mundial. El general George C. Marshall, jefe del alto mando militar, pretendía oponer a los anticuados métodos de instruc-ción basados en la fuerza del hábito corporal, la fuerza del hábito mental. Esta pretensión supuso desplegar un amplio programa que contemplaba, además de la instrucción militar, la formación intelectual y que contaba, para ello, entre otros recursos, con el cine. En este último ámbito, destacó la producción de la serie documen-tal de siete episodios “Why We Fight”. La serie, desde su mismo título, pareció apostar por la argumentación racional antes que por la emocional, para hacer comprensible, a los soldados, la implicaciónde Estados Unidos en la contienda mundial. Sin embargo, más allá de su apariencia retórica, la serie debía funcionar como un efectivo mecanismo de propaganda a favor de los intereses estratégicos del país norteamericano

La implicació de Hollywood en la Segona Guerra Mundial: el cas "Why we fight"

La tesi analitza set pel·lícules documentals de propoganda que sota el títol genèric de "Why We Fight" va produir el director Frank Capra per a l'exèrcit nord-americà, durant la Segona Guerra Mundial. La seva anàlisi permet d'establir quins són els trets ideològics bàsics dels Estats Units i fer un recorregut per la producció cinematogràfica nord-americana de finals dels anys 30 i principis del quaranta.

Why men fight : a method of abolishing the international duel /

"Lectures ... written in 1915, and delivered in the beginning of 1916."--Pref. to London edition.

Still More On Why We Should Bury The Marginal Productivity Theory Of The Price Of Capital: A Supplementary Note

The purpose of this note is to supplement the author’s earlier remarks on the unsatisfactory nature of the neoclassical account of how the return on capital is determined. (See Strathclyde Discussion Paper 12-03: “The Marginal Productivity Theory of the Price of Capital: An Historical Perspective on the Origins of the Codswallop”). The point is made via a simple illustration that certain matters which are problematical in neoclassical terms are perfectly straightforward when viewed from a classical perspective. Basically, the marginalist model of the nature of an economic system is not fit for purpose in that it fails to comprehend the essential features of a surplus-producing economic system as distinct from one merely of exchange.

Personalized care in neuro-oncology coming of age: why we need MGMT and 1p/19q testing for malignant glioma patients in clinical practice.

Histological subtyping and grading by malignancy are the cornerstones of the World Health Organization (WHO) classification of tumors of the central nervous system. They shall provide clinicians with guidance as to the course of disease to be expected and the choices of treatment to be made. Nonetheless, patients with histologically identical tumors may have very different outcomes, notably in patients with astrocytic and oligodendroglial gliomas of WHO grades II and III. In gliomas of adulthood, 3 molecular markers have undergone extensive studies in recent years: 1p/19q chromosomal codeletion, O(6)-methylguanine methyltransferase (MGMT) promoter methylation, and mutations of isocitrate dehydrogenase (IDH) 1 and 2. However, the assessment of these molecular markers has so far not been implemented in clinical routine because of the lack of therapeutic implications. In fact, these markers were considered to be prognostic irrespective of whether patients were receiving radiotherapy (RT), chemotherapy, or both (1p/19q, IDH1/2), or of limited value because testing is too complex and no chemotherapy alternative to temozolomide was available (MGMT). In 2012, this situation has changed: long-term follow-up of the Radiation Therapy Oncology Group 9402 and European Organisation for Research and Treatment of Cancer 26951 trials demonstrated an overall survival benefit from the addition to RT of chemotherapy with procarbazine/CCNU/vincristine confined to patients with anaplastic oligodendroglial tumors with (vs without) 1p/19q codeletion. Furthermore, in elderly glioblastoma patients, the NOA-08 and the Nordic trial of RT alone versus temozolomide alone demonstrated a profound impact of MGMT promoter methylation on outcome by therapy and thus established MGMT as a predictive biomarker in this patient population. These recent results call for the routine implementation of 1p/19q and MGMT testing at least in subpopulations of malignant glioma patients and represent an encouraging step toward the development of personalized therapeutic approaches in neuro-oncology.

Work less, teach better and get better feedback: why we tried innovative teaching methods

Speaker: Patrick McSweeney Organiser: Time: 15/10/2014 11:00-11:45 Location: B32/3077 Abstract Having started at Southampton in 2005 I have seen quite a few changes to the way courses are taught and studied. I will reflect on some of the interesting changes I have observed and suggest their causes. As a practical example I will talk about codestrom, a peer feedback tool for learning programming. We have found that this teaching method has improved the student experience and reduced the work load for the module team. Together we will discuss how this and other recent developments can enable other teaching innovations which benefit staff as well as students. Hopefully the new class of PhD students will be able to contribute from the point of view of having recently been undergraduate students here and else where.

Why we need new spectacles: Mapping the experiential dimension in prehistoric Cretan landscapes

The Bronze to Iron Age transition in Crete, a period of state collapse and insecurity, saw the island's rugged, high-contrast topography used in striking new ways. The visual drama of many of the new site locations has stimulated significant research over the last hundred years, with explanation of the change as the main focus. The new sites are not monumental in character: the vast majority are settlements, and much of the information about them comes from survey. Perhaps as a result, the new site map has not been much studied from phenomenological perspectives. A focus on the visual and experiential aspects of the new landscape can offer valuable insights into social structures at this period, and illuminate social developments prefiguring the emergence of polis states in Crete by c. 700 BC. To develop, share and evaluate this type of integrated study, digital reconstructive techniques are still under-used in this region. I highlight their potential value in addressing a regularly-identified shortcoming of phenomenological approaches-their necessarily subjective emphasis.

Why we need new spectacles: Mapping the experiential dimension in prehistoric Cretan landscapes

The Bronze to Iron Age transition in Crete, a period of state collapse and insecurity, saw the island's rugged, high-contrast topography used in striking new ways. The visual drama of many of the new site locations has stimulated significant research over the last hundred years, with explanation of the change as the main focus. The new sites are not monumental in character: the vast majority are settlements, and much of the information about them comes from survey. Perhaps as a result, the new site map has not been much studied from phenomenological perspectives. A focus on the visual and experiential aspects of the new landscape can offer valuable insights into social structures at this period, and illuminate social developments prefiguring the emergence of polis states in Crete by c. 700 BC. To develop, share and evaluate this type of integrated study, digital reconstructive techniques are still under-used in this region. I highlight their potential value in addressing a regularly-identified shortcoming of phenomenological approaches-their necessarily subjective emphasis.

Myelography in the Age of MRI: Why We Do It, and How We Do It

Myelography is a nearly ninety-year-old method that has undergone a steady development from the introduction of water-soluble contrast agents to CT myelography. Since the introduction of magnetic resonance imaging into clinical routine in the mid-1980s, the role of myelography seemed to be constantly less important in spinal diagnostics, but it remains a method that is probably even superior to MRI for special clinical issues. This paper briefly summarizes the historical development of myelography, describes the technique, and discusses current indications like the detection of CSF leaks or cervical root avulsion.

Saving morality: Why we cannot, and why we must

Philosophers and laymen alike have often used morality to invite misconceptions of human life into ethics, and also of ethics into human life. The Kant/Williams discourse provides a rich backdrop on which to consider these misconceptions. But the misconceptionsof morality involved are just as numerous and just as serious. One thing that the Kant/Williams discourse shows is this: that ethics can be neither contained by nor cultivated without morality. Though much of Williams’ critique of Kantian morality is quite astute, thephilosophical and ethical wisdoms of morality abound in spite of these. Morality understands the fundamental condition of moral loss, and the sometimes irreducible quandaries that this condition places human beings in. It understands the nature of the moral law, and theintricacies that the levels of letter and spirit invite into human life. Perhaps more importantly, it understands the uncompromising relationship between moral loss and moral law, and how the human navigation of this relationship leads into the ethical realm via giving rise to ethical conviction. Finally, for all of its pressures, morality abounds in valuable wisdoms for the one discovering that the human soul occupies a place of ethical significance in the world. It is responsible for pointing out, grounding and providing a framework for some of the most fundamental truths about the world and human beings; and these are essential to any viable ethical theory and sensible conception of human life.