«Aristóteles y los publicistas: El anuncio de televisión como forma dramática»

El artículo que viene a continuación fue uno de los seleccionados por Horace Newcomb para la tercera edición de Televisión: The Critical View (1 982), una de las primeras compilaciones de diversos autores que sobre televisiónse publicaron en Gran Bretaña a finales de la década de los setenta. Mediante un análisis riguroso, Martin Esslin desmonta la arquitectura narrativa del anuncio televisivo sobre la base de la retórica dramática aristotélica y de las formas actuales del teatro contemporáneo, al tiempo que reivindica la condición ritual de la publicidad ligada a los mitos que construyen nuestraideología y nuestra cultura

The Art of Practice – Understanding the process of musical maturation through reflection.

Originally published in Biomedical Optics Express on 01 March 2014 (boe-5-3-832

The Art of Practice – Understanding the process of musical maturation through reflection.

Much has been written in the last 30 years about musical practice and performance, but there is little consensus over what practice really means, or how musicians progress by practising. Researchers tend to focus on specific elements in practice rather than maintaining a more holistic perspective. Whilst academics historically focused on (primarily Western) classical musicians, more recent research has encompassed popular, jazz and folk musicians. The current research project at the University of Liverpool focuses on the practice and performance of both popular and classical musicians as described in students’ reflective essays. We posit a model for musical maturation that incorporates key elements from psychology, epistemology and sociocultural theory. (DIPF/Orig.

The Art of Theatre in Nineteenth-Century America: George L. Fox, Pantomime and Artaud

This article argues that, through specific stagings orchestrated in the pantomimist’s art, George Lafayette Fox demonstrates a consciousness of staging and of theatricality that presages the blatant theatricalities of twentieth-century theatre and theatre theory. The Theatre and Its Double is essential to assessing theatre’s response to theatricality, specifically in its awareness of non-verbal strategies. My discussion of pantomime founds itself on a critical engagement with the concept of a total theatre, of gestures, physicality, movement and the performance of a theatrical ‘language’ beyond words. I argue that the theatrical language of Fox’s pantomime exhibits dramatic dimensions that appealed to the edgy rebellious urges of their audiences, the performances of the white-face clown articulating an awareness of cultural anxieties, responding to and participating in the formation of the social response to political agenda and debate. Pantomime, with its glory in excess, its incipient display of anti-establishmentarianism, its fluidity and emphasis on show, contributed to the development of American theatre as a dynamic form. Providing a concrete space with its ‘concrete language, intended for the senses and independent of speech,’ (Artaud, p.37), Fox’s gestural theatre can shed additional light on theoretical approaches to mime

Psychometric Evaluation of the Knowledge, Skills and Attitudes - Part I: Patient-Centered Care Scale (KSAI-PCCS): A Pilot Study

Ph.D. University of Hawaii at Manoa 2016.Includes bibliographical references.Recognition that adverse events are a significant cause for morbidity and mortality has led to a rise in global efforts to improve patient safety. Adaptations are needed in healthcare institutions and at the educational preparatory level for all healthcare providers. One change surrounds the significance of patient-centered care, an important concept new to healthcare over the last decade. The problem concerns the ability of healthcare educators to effectively measure knowledge, skills, and attitudes of student nurses in relation to the Quality and Safety Education for Nurses (QSEN) patient-centered care competencies. The primary purpose of this study was to test the psychometrics of the Knowledge, Skills, and Attitudes Part I—Patient-centered Care Scale (KSAI-PCCS) instrument. A secondary purpose was to examine the perceived knowledge, skills, and attitudes of prelicensure nursing students specific to QSEN Core Competency: Patient-Centered Care. The knowledge of reliability and validity of the new instrument is critical for continued evaluation of patient-centered care from the nursing student’s perspective. The study was a cross-sectional non-experimental concurrent mixed-methods design that used non-probability convenience sampling and a web-based self-report survey. The learning framework was informed by a post-positivist worldview grounded in social constructivist and objectivist epistemology. The conceptual framework was informed by the theoretical perspectives of QSEN and Watson’s Caring Model. The KSAI-PCCS is a 54-item instrument with three subscales: Knowledge (19 items), Skills (17 items), and Attitudes (18 items)—KSA. The instrument subjectively measures the three domains of patient-centered care competencies for nursing practice. The instrument was administered to 208 prelicensure nursing students using a test-retest method to establish preliminary reliability and validity. Validity was supported through expert review panel processes. Instrument reliability was established with Cronbach’s alpha of .85 to .92 (pre to posttest; n = 12) and .96 to .97 (pre to posttest; n = 21). Item-total correlations of the KSA subscales were evaluated for acceptability and potential scale reduction. Paired samples t-test were utilized with reported significant results. Principal component analysis was also utilized; however, future testing is recommended with a larger sample. This study establishes preliminary reliability and validity to use in future refined studies exploring QSEN competencies

The Art of Practice: Learning through the Looking-Glass. Understanding the musical learning of popular and classical undergraduate musicians based upon their reflections about their experiences of a UK university performance course.

Much has been written in the last 30 years about musical practice and performance, but there is little consensus over what practice really means, or how musicians progress by practising. Researchers tend to focus on specific elements in practice rather than taking a more holistic perspective. Whilst academics historically focused on (primarily Western) classical musicians, more recent research has focused upon popular, jazz and folk musicians, drawing on formal and informal learning models. This research project at the University of Liverpool focuses on the practice and performance experiences of both popular and classical undergraduate musicians as described in students’ reflective essays, acquired through informed consent. The method of assessment, combining 70% of marks for performance and 30% of marks for the reflective essay is, as far as can be ascertained, unique in comparable higher education institutions. The research questions address the roles of practice, performance and reflection in musical learning: • What experiences of practice and performance do the students describe in their reflective essays? • Do students develop an understanding of their practice and performance behaviours through their reflective essays? If so, how? • What role does reflection play in musical learning? Musical learning takes place not only through individual practice, but also in ensembles and bands, supported by feedback from tutors and peers and is firmly situated in the socio-cultural environment of the university and the city of Liverpool. Longitudinal findings suggest that classical and popular musicians start their performance studies with quite different musical experiences and expectations, dependent upon their prior learning. However, the process of writing an annual reflective essay seems to encourage students to think more critically about their practice and performance behaviours and they ask ‘How am I...’ or ‘How are we practising?’ which may lead to the adoption of a range of metacognitive practice strategies. The research findings point towards a validation of written reflection combined with performance as an appropriate method for assessing student musicians. Reflective practice acted as a unifying element between the popular and classical musicians. This study provides a contribution to knowledge for tertiary and secondary music educators, scholars and those involved in higher education course design

Cosmic Ray Scattering in Compressible Turbulence

We study the scattering of low-energy Cosmic Rays (CRs) in a turbulent, compressive MHD fluid. We show that compressible MHD modes -- fast or slow waves with wave lengths smaller than CR mean free paths induce cyclotron instability in CRs. The instability feeds the new small-scale Alfvenic wave component with wave vectors mostly along magnetic field, which is not a part of the MHD turbulence cascade. This new component gives feedback on the instability through decreasing the CR mean free path. We show that the ambient turbulence fully suppresses the instability at large scales, while wave steepening constrains the amplitude of the waves at small scales. We provide the energy spectrum of the plane-parallel Alfvenic component and calculate mean free paths of CRs as a function of their energy. We find that for the typical parameters of turbulence in the interstellar medium and in the intercluster medium the new Alfvenic component provides the scattering of the low energy CRs that exceeds the direct resonance scattering by MHD modes. This solves the problem of insufficient scattering of low-energy CRs in the turbulent interstellar or intracluster medium that was reported in the literature.Comment: 9 pages, 2 figures, a new section, accepted to MNRA