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1	Cache Creek and Nicola Groups near Ashcroft, British Columbia Grette, Joan Frances January 1978 (has links) Detailed mapping near the type area of the Cache Creek Group in southern British Columbia has led to significant changes in the distribution of Cache Creek and Nicola rocks. Much of what was called Cache Creek Group is now considered to be part of the Upper Triassic Nicola Group. Several criteria can be used to distinguish the two groups. These include: 1) lithologic differences, 2) fossil information, 3) structural style, and 4) metamorphic history. The Cache Creek Group is subdivided into three mappable, fault-bounded units and appears to be a tectonic melange over much of its extent. A deformational event produced isoclinal folds, a phyllitic foliation in some lithologies, and was accompanied by metamorphism with variable pressure-temperature conditions. Mineral assemblages support conditions from temperatures less than 250°C and pressures of 4 kb or less to transitional blueschist conditions: T = 350° C and P = 6 kb. In contrast, the Nicola Group is characterized by hydrothermal alteration and the lack of a pervasive secondary fabric. It does not have the blocks in a sheared matrix tectonostratigraphic style typical of the Cache Creek Group. The two units were brought together along the Martel Fault, probably a thrust, during late Lower or early Middle Jurassic time. Deformation and melange development in the Cache Creek Group predates this event. Distribution of Cache Creek and Nicola rocks and their relationship to each other during Upper Triassic time are still not clear. / Science, Faculty of / Earth, Ocean and Atmospheric Sciences, Department of / Graduate
2	Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello Sawyer, Robert 01 September 2017 (has links) When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare's Othello in London in 1930, tickets were in high demand during the production's first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton's work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson's nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943. commemoration fascism Henri Lefebvre Josè Ferrer Margaret Webster Othello Paul Connerton Paul Robeson Peggy Ashcroft protest Savoy Theatre show boat Spanish Civil War Literature and Language
3	Walter Richard Sickert and the theatre c.1880-c.1940 Rough, William W. January 2010 (has links) Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity. 708
4	Förslag till reform av den upphovsrättsliga skyddstiden : En argumentsorienterad studie över skyddstidens längd Holmedal, Samuel January 2015 (has links) No description available. Copyright Authors' rights Term of copyright protection Copyright length Length of copyright Economic rights Moral rights Berne convention TRIPS Sweden USA Elder v. Ashcroft Author Culture industry Society Interests Balance Upphovsrätt Immaterialrätt Upphovsrättslig skyddstid Skyddstid Upphovsrättslig balans Skyddstidens längd Upphovsmannen Samhället Efterlevande Kulturindustrin Upphovsrättens historia Intressekonflikter Upphovsrättsliga argument Ekonomiska rättigheter Ideella rättighter Ideell upphovsrätt Rättspolitik Bernkonventionen TRIPS-avtalet Sverige USA Internationell upphovsrätt Svensk upphovsrätt Amerikansk upphovsrätt

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