2012 Annual Research Symposium Abstract Book

2012 annual volume of abstracts for science research projects conducted by students at Trinity College

Proceedings of the 9th international conference on disability, virtual reality and associated technologies (ICDVRAT 2012)

The proceedings of the conferenc

Unmet goals of tracking: within-track heterogeneity of students' expectations for

Educational systems are often characterized by some form(s) of ability grouping, like tracking. Although substantial variation in the implementation of these practices exists, it is always the aim to improve teaching efficiency by creating homogeneous groups of students in terms of capabilities and performances as well as expected pathways. If students’ expected pathways (university, graduate school, or working) are in line with the goals of tracking, one might presume that these expectations are rather homogeneous within tracks and heterogeneous between tracks. In Flanders (the northern region of Belgium), the educational system consists of four tracks. Many students start out in the most prestigious, academic track. If they fail to gain the necessary credentials, they move to the less esteemed technical and vocational tracks. Therefore, the educational system has been called a 'cascade system'. We presume that this cascade system creates homogeneous expectations in the academic track, though heterogeneous expectations in the technical and vocational tracks. We use data from the International Study of City Youth (ISCY), gathered during the 2013-2014 school year from 2354 pupils of the tenth grade across 30 secondary schools in the city of Ghent, Flanders. Preliminary results suggest that the technical and vocational tracks show more heterogeneity in student’s expectations than the academic track. If tracking does not fulfill the desired goals in some tracks, tracking practices should be questioned as tracking occurs along social and ethnic lines, causing social inequality

Reports to the President

A compilation of annual reports for the 1988-1989 academic year, including a report from the President of the Massachusetts Institute of Technology, as well as reports from the academic and administrative units of the Institute. The reports outline the year's goals, accomplishments, honors and awards, and future plans

Esa 12th Conference: Differences, Inequalities and Sociological Imagination: Abstract Book

Esa 12th Conference: Differences, Inequalities and Sociological Imagination: Abstract Boo

Play Among Books

How does coding change the way we think about architecture? Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books

"This isthmus of a middle state" : the suburban fiction of John Cheever, John Updike and Richard Ford

Niniejsza praca stanowi studium rozwoju literatury suburbiów w USA, od zaistnienia tego gatunku w latach czterdziestych dwudziestego wieku do początku wieku dwudziestego pierwszego. Twórczość omawianych pisarzy: Johna Cheevera, Johna Updike’a i Richarda Forda usytuowana jest na tle zmian społecznych tego okresu, szczególnie rozwoju amerykańskich miast. Ze względu na związki tej literatury z tradycją realistyczną badane są przejawy realizmu w dziełach wymienionych autorów, od mityzujących tendencji prozy Cheevera, przez „rokokowy” realizm Updike’a, do Forda postmodernistycznej wizji miejsca jako produktu kapitalistycznej gospodarki. W tym kontekście mieszczą się również refleksje na temat związków pomiędzy klasą średnią jako formacją świadomości a kulturą masową i konsumeryzmem. Krytycznym i teoretycznoliterackim punktem odniesienia dla tych rozważań są koncepcje Lionela Trillinga i Johna Gardnera. W przypadku pierwszego z nich omawiane są: jego teoria powieści jako gatunku traktującego o stratyfikacji społecznej, jego rozumienie realizmu oscylujące pomiędzy prawdą wizji intelektualnej i prawdą wizji społecznej, a także wykładnia liberalizmu jako postawy badawczej, akcentującej synkretyzm i sceptycyzm. Jeśli chodzi o Johna Gardnera, to uwaga poświęcona jest jego koncepcji „literatury moralnej”, a szczególnie konserwatywnej interpretacji kondycji literatury współczesnej. Postulując renesans potrójnego ideału Dobra, Piękna i Prawdy, próbuje on doprowadzić do integracji tego ideału z wrażliwością chrześcijańską. Kwestią badaną w odniesieniu do trzech pisarzy wymienionych w tytule jest stosunek establishmentu intelektualnego, a szczególnie krytyki literackiej, do suburbiów. Tu ujawnia się pewne napięcie pomiędzy krytyką tej formy urbanistycznej jako wyjaławiającej duchowo i prowadzącej do filistynizmu połączonego z tendencją do nadmiernego konserwatyzmu z jednej strony, z drugiej zaś — faktem, iż większość Amerykanów, również elity artystyczne i naukowe, wychowała się i żyje na terenach podmiejskich. W odniesieniu do tej ambiwalencji omawiany jest stosunek Cheevera, Updike’a i Forda do suburbiów jako takich, a także estetyka ich utworów, wizja społeczeństwa oraz psychologia postaci

Grotesque Figures

Charles Baudelaire is usually read as a paradigmatically modern poet, whose work ushered in a new era of French literature. But the common emphasis on his use of new forms and styles overlooks the complex role of the past in his work. In Grotesque Figures, Virginia E. Swain explores how the specter of the eighteenth century made itself felt in Baudelaire's modern poetry in the pervasive textual and figural presence of Jean-Jacques Rousseau. Not only do Rousseau's ideas inform Baudelaire's theory of the grotesque, but Rousseau makes numerous appearances in Baudelaire's poetry as a caricature or type representing the hold of the Enlightenment and the French Revolution over Baudelaire and his contemporaries. As a character in "Le Poème du hashisch" and the Petits Poèmes en prose, "Rousseau" gives the grotesque a human form.Swain's literary, cultural, and historical analysis deepens our understanding of Baudelaire and of nineteenth-century aesthetics by relating Baudelaire's poetic theory and practice to Enlightenment debates about allegory and the grotesque in the arts. Offering a novel reading of Baudelaire's ambivalent engagement with the eighteenth-century, Grotesque Figures examines nineteenth-century ideological debates over French identity, Rousseau's political and artistic legacy, the aesthetic and political significance of the rococo, and the presence of the grotesque in the modern

American Audiences on Movies and Moviegoing

A unique perspective on half a century of American cinema—from the audience’s point of view. Tom Stempel goes beyond the comments of professional reviewers, concentrating on the opinions of ordinary people. He traces shifting trends in genre and taste, examining and questioning the power films have in American society. Stempel blends audience response with his own observations and analyzes box office results that identify the movies people actually went to see, not just those praised by the critics. Avoiding statistical summary, he presents the results of a survey on movies and moviegoing in the respondents’ own words—words that surprise, amuse, and irritate. The moviegoers respond: “Big bad plane, big bad motorcycle, and big bad Kelly McGillis.”—On Top Gun “All I can recall were the slave girls and the Golden Calf sequence and how it got me excited. My parents must have been very pleased with my enthusiasm for the Bible.”—On why a seven-year-old boy stayed up to watch The Ten Commandments “I learned the fine art of seduction by watching Faye Dunaway smolder.”—A woman’s reaction to seeing Bonnie and Clyde “At age fifteen Jesus said he would be back, he just didn’t say what he would look like.”—On E.T. “A moronic, very ‘Hollywoody’ script, and a bunch of dancing teddy bears.”—On Return of the Jedi “I couldn’t help but think how Mad magazine would lampoon this.—On The Exorcist A refreshing antidote to dry statistical summary, Stempel’s entertaining tome offers a different perspective on a half-century of American cinema. —American Cinematographer A highly charming and provocative study of audiences. —American Studies Deflates ‘artistic’ opinions about directors by using box-office grosses and audience response as a measuring rod. —Choice A sprawling look at the last fifty years of American movies and how audiences responded to them. —Cineaste Does something that most academically oriented cinema-related books don’t: he gets in touch with the magic of the movies. —Creative Screenwriting Obligatory reading for serious film goers and film makers alike. Written with charm and style, this book gives the audience perspective on movies as no other book has done. Insightful. —David Brown A fascinating glimpse into history. —Express Books In drawing our attention back to the audience, he has rendered a service by reminding us that a reciprocal relationship exists between the filmmaker and audience. All too often we tend to ignore the latter. —Film & History The results reflect the ideas of anyone who has ever sat down with an overpriced combo of popcorn and soda: some movies are great, others are stinkers, and when it comes right down to it, the opinions of professional critics don’t amount to a hill of beans. —ForeWord A great idea for a book. —Lexington Herald-Leader In this book, ordinary people talk back to the screen, describing early movie-going memories, family nights at the drive in, growing up with movies in the early days of television, and loving and hating movies in the 1960s. Other topics include the always popular subject of sex in the cinema . . . and the our changing response to movies as we age. . . . . Lively, divergent reactions to classics and box-office hits are also included. —Library Journal Stempel draws upon his considerable expertise to examine the complex relationship between the audience and the movies. . . . Very highly recommended and unique reading for students of film history and American popular culture. —Midwest Book Review Gives voice to the audience. —Plushttps://uknowledge.uky.edu/upk_film_and_media_studies/1006/thumbnail.jp