Le théâtre irlandais à Toronto et à Montréal : du cliché identitaire à l’appropriation artistique

L’introduction et l’appropriation du théâtre irlandais, en anglais à Toronto et en français à Montréal sont comparées : manifestement, certains praticiens résistent à la spécificité des oeuvres abordées et s’appuient sur les clichés de l’identité irlandaise pour assurer leur réception, tandis que d’autres puisent dans la « différence » intrinsèque aux oeuvres de Mark O’Rowe, Marina Carr et Brian Friel. Dans un processus d’appropriation du théâtre irlandais au Québec, il est étonnant de constater que la traduction interlinguistique assure le respect de la spécificité esthétique des oeuvres abordées, phénomène qui contredit la logique traditionnelle qui veut qu’un tel processus implique surtout des pertes.The introduction and appropriation of Irish theatre in English in Toronto and in French in Montreal are compared: certain artists resist the specificity of the works produced and make use of clichés related to Irish identity to insure their acceptability to targeted audiences, while others embrace the uniqueness of works penned by Mark O'Rowe, Marina Carr and Brian Friel. Paradoxically, it would appear that interlinguistic translation in Quebec helps artists better understand texts, which in turn allows them to preserve aesthetic specificities of works produced in French. As such, this case study puts into question the traditional perspective of translation, often seen as a process that seeks to minimize forms of loss

Flavor Anarchy in a Randall-Sundrum Model with 5D Minimal Flavor Violation and a Low Kaluza-Klein Scale

A variant of a warped extra dimension model is presented. It is based on 5D minimal flavor violation, in which the only sources of flavor breaking are two 5D anarchic Yukawa matrices. These matrices also control the bulk masses, which are responsible for the resulting flavor hierarchy. The theory flows to a next to minimal flavor violation model where flavor violation is dominantly coming from the 3rd generation. Flavor violation is also suppressed by a parameter that dials the violation in the up or down sector. There is therefore a sharp limit in which there is no flavor violation in the down-type quark sector which, remarkably, is consistent with the observed flavor parameters. This is used to eliminate the current Randall-Sundrum flavor and CP problem. Our construction suggests that strong dynamic-based, flavor models may be built based on the same concepts.Physic

Breaking Silences: Women, Citizenship and Theatre In Northern Ireland

This essay seeks to weave together an analysis of women’s citizenship and its dependency on certain silences, and the exploration of this tension in two recent productions by Belfast- based Kabosh Theatre Company. Kabosh, and company Artistic Director Paula McFetridge, stage work that examines the realities of the region in the post-conflict era.  In constructing the theoretical frame for the analysis, the concept of “silence” and “silencing” draws from Kristie Dotson (2015), and from work on violence such as Gayatri Spivak’s concept of “epistemic violence” and a wide range of sources on the performance of violence in theatre. Chantal Mouffe’s concept of agonistic democracy shapes the discussion of the Northern Irish state, and Wendy Brown and Joane Butler are the key scholars for the consideration of citizenship and nation

P1_6 Red TARDIS

In this paper we investigated the effect the relativistic effect would have on the TARDIS fromthe the BBC television programme Doctor Who. We aimed to calculate the speed at which theTARDIS would have to travel in order to appear red rather than its iconic blue colour. We foundthat the TARDIS would have to be travelling at 1.3 x 108m/s (2 s.f) away from an observer toappear red. We felt this was a reasonable speed for the spaceship to be travelling at due to it’sadvanced time and space travelling capabilities

Neither wasted nor wanted: theorising the failure to dispossess objects of ambiguous value

peer-reviewedConsumer research has traditionally presented the consumption process in three stages – acquisition, consumption and disposition (de Coverly et al. 2008; Jacoby, Berning, and Dietvorst 1977) and it is assumed that consumers will naturally move through the process (Cross, Leizerovici, and Pirouz 2017). Whereas commodity acquisition and utilisation have been researched extensively, disposition has received scant attention – a curiosity given its ubiquity and significance in consumer’s lives (Arnould and Thompson 2005). Disposition is a significant issue. Whether it is a painful process, during which individuals endure an experience akin to the death of some piece of themselves or the joyful shedding of objects imbued with an unwanted self, disposition is an integral part of modern life (Lastovicka and Fernandez 2005; Price et al. 2000). There are exceptions to this process, for example, hoarders, collectors and particularly frugal consumers retain commodities beyond their expected life cycle (Belk, Wallendorf, and Sherry 1989; Coulter and Ligas 2003; Haws et al. 2012; Lastovicka et al. 1999). Indeed, there are certain categories of goods which are retained indefinitely either due to their emotional or financial value (Belk et al. 1989; Jacoby et al. 1977). Epp and Price (2010) ask why some valued items are banished to storage while others remain in active use. Items which are no longer useful may also be kept, living indefinitely in nooks and crannies around the home. These items are particularly interesting for consumer researchers because their retention in consumer homes reveal that assumptions regarding disposition processes need to be re-examined. As such, this paper asks what happens to things when they are neither wasted nor wanted, when the little meaning they initially held was tied to another, more valuable object or when they have been replaced. This paper stems from a larger project exploring technological waste disposition. Analysis revealed a kind of object which is retained indefinitely, which does not hold special meaning, is not particularly valuable or personal. These objects are of ambiguous value to the owner (including obsolete cell phones, laptops, unused cables, lockless keys, long paid bills) – objects that seem to hover between being wanted and wasted - they hold the ghost of meaning or the possibility of (re)use.PUBLISHEDpeer-reviewe

P1_1 Hollywood Sign Illuminations: Is it Worth the Money?

In this paper, an investigation is conducted as to whether it is financially viable for the famous Hollywood sign in California to be lit up by Light Emitting Diodes (LEDs) for 12 hours. By estimating the surface area of the Hollywood sign, we calculated the number of LEDs required to fully cover the sign and the power of each LED. We estimated the cost to illuminate the Hollywood sign for 12 hours to be approximately $11,000 (2s.f.). Therefore, we think it is financially viable to illuminate the Hollywood sign for a single event. However, considering installation and maintenance costs we do not think this would be a financially viable project for long term use