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2021 ◽  
Vol 2021 ◽  
pp. 1-6
Author(s):  
Qingyun Hou

In order to improve teaching quality and reduce students’ learning difficulty, this study introduces the concept of Teaching for the Ability (TFA) on the basis of traditional Internet teaching, uses big data to calculate students’ cognitive ability, and uses the evaluation results of students’ cognitive ability to drive the Internet learning scheme tailored for each student one by one. In the data validation analysis, it is found that the cognitive ability evaluation results made by the system directly affect the students’ final performance in the national unified graduation examination, and the education scheme for students with low cognitive ability is found in the data analysis.


2021 ◽  
Vol 9 (1) ◽  
Author(s):  
M. P. Carbonell-Blasco ◽  
M. A. Pérez-Limiñana ◽  
C. Ruzafa-Silvestre ◽  
F. Arán-Ais ◽  
E. Orgilés-Calpena

AbstractPolyurethanes, one of the most used polymers worldwide, are strongly dependent of non-renewable fossil resources. Thus, boosting the production of new polyurethanes based on more sustainable raw materials is crucial to move towards the footwear industry decarbonisation. The aim of this study is to synthesise and characterise reactive hotmelt polyurethanes from biomass and CO2-based polyols as bioadhesives for the footwear industry. The influence of biobased polyols on the polyurethane structure, and therefore, on their final properties was analysed by different experimental techniques such us Fourier transform infrared spectroscopy (FTIR), Differential scanning calorimetry (DSC), Thermogravimetric analysis (TGA), Melting viscosity, Softening temperature and T-peel strength test, in order to assess their viability for the upper to sole bonding process. The results obtained indicated that the incorporation of different amounts of the biobased polyols produces changes in the structure and final performance of the polyurethanes. Therefore, adhesion test carried out by the T-peel test 72 h after the upper -to- sole bonding of the sustainable adhesives show high final adhesion values. These sustainable raw materials provide polyurethane adhesives with additional beneficial non-toxicity and sustainable characteristics, without harming their properties during their useful life.


2021 ◽  
Author(s):  
◽  
Sepelini Mua'au

<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers.  What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being:  What is the role of the writer in the rehearsal room?  What are the dramaturgical challenges of developing a script in-progress?</p>


2021 ◽  
Author(s):  
◽  
Sepelini Mua'au

<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers.  What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being:  What is the role of the writer in the rehearsal room?  What are the dramaturgical challenges of developing a script in-progress?</p>


2021 ◽  
Author(s):  
◽  
John Cairney

<p>Within a format of Shakespeare's seven ages of man, the seven stages of Robert Louis Stevenson are presented here as an inaugural investigation of his theatricality. The Introduction deals with this theatricality generally and is concerned, in its two parts, with the more technical elements of theatricality as they relate to the principles of dramatic theory. Stage One is a curtailed family history as a general background to his development and deals with his introduction to Mr Skelt's Toy Theatre. Consideration is also given in Section 3 to his first juvenile dramatic writing. Stage Two tells of his beginning to 'act a part' while at Edinburgh University. This stage also covers the amateur theatricals and the friendships with Fleeming Jenkin, Mrs Sitwell and Sidney Colvin. Stage Three introduces William Ernest Henley. With Stevenson he writes Deacon Brodie for Henry Irving. Stevenson courts and marries Mrs Osbourne while the playwriting goes on by correspondence. The London performance of Deacon Brodie is discussed and its American production with Edward J. Henley. Stage Four covers 1884 - the playwriting year at Bournemouth. Beau Austin and Admiral Guinea are discussed with comment and analysis offered under separate headings. The adaptation of Macaire is considered in relation to Beerbohm Tree. The Hanging Judge and the meeting with Thomas Hardy are also considered. Then follow general remarks about all the plays with special reference to Arthur Pinero's 1903 lecture on Robert Louis Stevenson as Dramatist. Stage Five is a consideration of Early Victorian theatre and its influence on the Henley-Stevenson partnership. This Stage features the final years of the two Henleys and includes a consideration of the Henley review of Balfour's official biography of Stevenson. Stage Six shows us Stevenson as the Scotch Tusitala, the Patriarch of Vailiama, reading his work aloud from the verandah. It is the final performance and in four short sections we see him rise only to die. Stage Seven is devoted entirely to adaptations of Stevensonia by other writers for all performing media to date. A comprehensive survey of R.L.S. and the drama is an area of Stevenson scholarship which has been either neglected or ill-considered. It is the intention of this study to offer a new focus to this dimension of his literary oeuvre and thus encourage a fresh approach to the Stevenson plays as a whole. It also offers an opportunity to consider his relationship with W.E. Henley and Mrs F.V. Stevenson, his collaborators in the five finished playscripts. In doing so, it puts into perspective the place of the plays in Victorian dramaturgy. Biographical facts and quotations from the Works are used where they may reflect his lifelong preoccupation with the theatre and where they may argue, by analysis or illustration, the theatrical potential evident, not only in the plays, but in every element of his personality. This is the man of theatre as theatrical man. A complete list of adaptations of his work in all the performing media and also selected reviews of his plays are added in support of the conclusion which is, sadly, that in considering R.L.S. as dramatist - one can only regret the loss to the theatre of what might have been...</p>


2021 ◽  
Author(s):  
◽  
John Cairney

<p>Within a format of Shakespeare's seven ages of man, the seven stages of Robert Louis Stevenson are presented here as an inaugural investigation of his theatricality. The Introduction deals with this theatricality generally and is concerned, in its two parts, with the more technical elements of theatricality as they relate to the principles of dramatic theory. Stage One is a curtailed family history as a general background to his development and deals with his introduction to Mr Skelt's Toy Theatre. Consideration is also given in Section 3 to his first juvenile dramatic writing. Stage Two tells of his beginning to 'act a part' while at Edinburgh University. This stage also covers the amateur theatricals and the friendships with Fleeming Jenkin, Mrs Sitwell and Sidney Colvin. Stage Three introduces William Ernest Henley. With Stevenson he writes Deacon Brodie for Henry Irving. Stevenson courts and marries Mrs Osbourne while the playwriting goes on by correspondence. The London performance of Deacon Brodie is discussed and its American production with Edward J. Henley. Stage Four covers 1884 - the playwriting year at Bournemouth. Beau Austin and Admiral Guinea are discussed with comment and analysis offered under separate headings. The adaptation of Macaire is considered in relation to Beerbohm Tree. The Hanging Judge and the meeting with Thomas Hardy are also considered. Then follow general remarks about all the plays with special reference to Arthur Pinero's 1903 lecture on Robert Louis Stevenson as Dramatist. Stage Five is a consideration of Early Victorian theatre and its influence on the Henley-Stevenson partnership. This Stage features the final years of the two Henleys and includes a consideration of the Henley review of Balfour's official biography of Stevenson. Stage Six shows us Stevenson as the Scotch Tusitala, the Patriarch of Vailiama, reading his work aloud from the verandah. It is the final performance and in four short sections we see him rise only to die. Stage Seven is devoted entirely to adaptations of Stevensonia by other writers for all performing media to date. A comprehensive survey of R.L.S. and the drama is an area of Stevenson scholarship which has been either neglected or ill-considered. It is the intention of this study to offer a new focus to this dimension of his literary oeuvre and thus encourage a fresh approach to the Stevenson plays as a whole. It also offers an opportunity to consider his relationship with W.E. Henley and Mrs F.V. Stevenson, his collaborators in the five finished playscripts. In doing so, it puts into perspective the place of the plays in Victorian dramaturgy. Biographical facts and quotations from the Works are used where they may reflect his lifelong preoccupation with the theatre and where they may argue, by analysis or illustration, the theatrical potential evident, not only in the plays, but in every element of his personality. This is the man of theatre as theatrical man. A complete list of adaptations of his work in all the performing media and also selected reviews of his plays are added in support of the conclusion which is, sadly, that in considering R.L.S. as dramatist - one can only regret the loss to the theatre of what might have been...</p>


2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Sasha Lozanova ◽  
◽  
Stela Tasheva

The material culture of Persia (in architecture, design, arts) from Ancient and Middle Ages have been well known and deeply examined on a world level. However, this is far less true for the latest Iranian creative production. Therefore, the authors of the paper (historians of art and of architecture) are investigating some issues related to the visual and design features of the latest Iranian architecture. Here, we are exploring samples representative of the beginning of the 21st century, including both public (religious, secular) and residential buildings. Although partly limited by the availability of information (existing publications, translations from Farsi, etc.), our selection is based on: • the originality of their design concept • the final performance qualities • the expression of an attitude towards the traditional and the world-wide artistic heritage. The analysis of the chosen examples is based on their shape and stylistic character, most widely understood, including: their urban environment; the chosen volumes, proportions, silhouette, material, the play of colors, light and shadows, decorative elements, etc. The expected results are to illustrate the forms of interaction between the rich regional building environment and the universal architectural trends.


2021 ◽  
Vol 11 (18) ◽  
pp. 8521
Author(s):  
Ignacio Viñals ◽  
Alfonso Ortega ◽  
Antonio Miguel ◽  
Eduardo Lleida

The demand of high-quality metadata for the available multimedia content requires the development of new techniques able to correctly identify more and more information, including the speaker information. The task known as speaker attribution aims at identifying all or part of the speakers in the audio under analysis. In this work, we carry out a study of the speaker attribution problem in the broadcast domain. Through our experiments, we illustrate the positive impact of diarization on the final performance. Additionally, we show the influence of the variability present in broadcast data, depicting the broadcast domain as a collection of subdomains with particular characteristics. Taking these two factors into account, we also propose alternative approximations robust against domain mismatch. These approximations include a semisupervised alternative as well as a totally unsupervised new hybrid solution fusing diarization and speaker assignment. Thanks to these two approximations, our performance is boosted around a relative 50%. The analysis has been carried out using the corpus for the Albayzín 2020 challenge, a diarization and speaker attribution evaluation working with broadcast data. These data, provided by Radio Televisión Española (RTVE), the Spanish public Radio and TV Corporation, include multiple shows and genres to analyze the impact of new speech technologies in real-world scenarios.


Orfeu ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 315-334
Author(s):  
Nazfar Hadji

This paper presents a musical-aesthetic educational project which combined the piano piece Faschingsschwank aus Wien by Robert Schumann and improvisations of adolescent patients in a psychiatric ward. The patients explored both musical and non-musical material, such as pictures and masks. They could bring in their own ideas, not only in designing the masks and in the improvisation, but also in the development of the choreography. At the end of the project, the results were presented in a final performance. As part of the project, interviews with participants and hospital staff were conducted and qualitatively analysed. The participants clearly expressed a changed perception of themselves. These transformations can be interpreted as indicators of musical-aesthetic educational processes. This case study constitutes a contribution to music education research in hospitals and may even encourage the implementation of similar educational offers in hospitals in the future.


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