Results 241 to 250 of about 228,575 (301)

Deux ou trois choses que nous savons d’eux : publics de cinéma

open access: yesConserveries Mémorielles, 2012
Myriam Juan, Christophe Trebuil
doaj  

Non-accidental violence toward sport officials: a scoping review. [PDF]

open access: yesFront Sports Act Living
Pereira Vargas MLF   +4 more
europepmc   +1 more source

An 11-qubit atom processor in silicon. [PDF]

open access: yesNature
Edlbauer H   +14 more
europepmc   +1 more source

Probabilistic inference of social presence across brain scales reveals enhanced synaptic efficacy. [PDF]

open access: yesCommun Biol
Esmaeili A   +9 more
europepmc   +1 more source
Some of the next articles are maybe not open access.

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The Memory of the Spectator

Contemporary Theatre Review, 2000
This article, which deals with young spectators, presents an innovative research tool for children's and youth theatre - memory. It relates to the memories left by the various performed plays, their characters and design. Regarding case studies in educational drama, the research indicates a new, important and interesting direction.
Deldime, Roger, Pigeon, Jeanne
openaire   +2 more sources

The Spectator in Drama/Drama in the Spectator

Modern Drama, 1984
The theoretical maneuver by which the reader came to occupy the space vacated by the disappearing author did not remain unquestioned for long. The reader — whether it be the "mock—reader," the "model reader," the "implied reader," the "super reader," or even the "real reader (me )" — could hardly withstand the pressure exerted by contemporary literary
openaire   +1 more source

The Vulnerable Spectator

Film Quarterly, 2013
FQ Columnist Amelie Hastie responds to Jacques Audiard's award-winning film Dheepan (2015), and acknowledges a long-standing attention to the filmmaker's work, stating: “Jacques Audiard's films move me. To screams, to tears, to fits of desire. I can remember every theatrical viewing of each of his films I have seen.” Hastie's column goes on to consider
openaire   +1 more source

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