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Copyright of Revista de Filosofía UIS is the property of Universidad Industrial de Santander and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tools like language neural networks and machine learning are common today. However, these artificial intelligence tools violate some ethical principles linked to human rights such as privacy and transparency, in addition to the fact that technology is imitating human behavior better and better, which is why it can induce antisocial behavior. Therefore, the work will seek to analyze the social and ethical impact of companion chatbots platforms, especially the case of the Replika platform. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Political Philosophy / Las Torres de Lucca is the property of Revista Las Torres de Lucca. Facultad de Filosofia, Ciudad Universitaria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kepes is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Governance networks have emerged in response to the increasing complexity of public affairs, and because of the deficiencies of traditional public management models. In relation to this, territorial planning, as a basic instrumental technique for the implementation of territorial and urban policies, has also experienced an increase in complexity. The aim of the article is to defend the interest that governance networks have for territorial decision-making in a stage of increasing complexity. In this way, the interest of the work is in the interrelation that exists between governance networks and territorial planning, an issue rarely addressed in the literature so far. From this approach, it is considered that decisions in territorial planning should be the product of a combination of expert knowledge and that of the actors with interests in the territory. Thus, territorial planning should serve as an instrumental technique to manage the coexistence of shared spaces, develop collaborative territorial policies and, ultimately, to promote territorial culture. [ABSTRACT FROM AUTHOR]

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

University spin-offs are considered as an important mechanism for technology transfer, which allows creating value from the knowledge generated in universities, encouraging quality research and cooperation of universities with different actors. This article establishes a typology of methods for the stakeholder analysis based on a categorization of existing methods in the literature, as a tool that contributes to the formulation of strategies for the management of actors involved in the creation of university Spin-offs. For the development of the research, multiple models that exist in the scientific literature were collected and codified, later these methods are crossed with the spin-offs creation phases, taking into account the key activities that entrepreneurs must perform to overcome each one of the critical junctures presented, and to manage the actors to anticipate the opportunities and problems during the Spin-off creation. [ABSTRACT FROM AUTHOR]

Copyright of Sophia, Colección de Filosofía de la Educación is the property of Universidad Politecnica Salesiana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos, Revista de Ciencias Administrativas y Económicas is the property of Universidad Politecnica Salesiana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Rastros Rostros is the property of Universidad Cooperativa de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anagnórisis: Revista de Investigación Teatral is the property of Anagnorisis: Revista de Investigacion Teatral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2008, Argentina and Chile signed an agreement to eradicate North American beavers (Castor canadensis) and restore degraded forests. The plans and actions related to this treaty have been conducted principally by experts with biological knowledge, paying scant attention to social aspects. From a socio-ecological approach, we evaluated the perspectives of two groups of key stakeholders (managers and researchers) from Argentinean and Chilean institutions. Via surveys, we compared i) attitudes towards the binational agreement's two objectives (eradication and restoration), ii) the reasons that underlie these positions and iii) the opinions about obstacles in implementing the agreement. The majority of both groups agreed with the two objectives, nonetheless managers supported more the eradication of the beaver and researchers supported more the restoration of degraded forests. These positions were based on biological arguments (e.g., ecological harm, being an exotic species), more than on social ones (e.g., ethics, economic impact). Paradoxically, managers and researchers identified the lack of information on social topics (e.g., internal management, interinstitutional cooperation, financing) as the main obstacle for the implementation of the agreement. While there was a high level of consensus, dissident positions were found among these stakeholders, whose profile is rather homogeneous. Managers particularly emphasized politico-institutional topics. Consequently, we are called upon to deepen and increase attention towards social dimensions in the approach to biological invasions to diversify the perspectives towards the problem, as well as to optimize and improve outcomes of potential actions in complex and heterogeneous societies. [ABSTRACT FROM AUTHOR]

Copyright of Revista Ciencia Administrativa is the property of Universidad Veracruzana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper proposes that understanding the treatment of the scene in the Beckettian language involves distancing itself from conventionalisms that canonize theatrical forms, moving away from the traditionally established and delving into a transgressing scenic language, fragmented, dissonant, overrun with chiaroscuros, a presence representing emptiness and a silence that stuns the senses. In addition, it formulates that conceiving the Beckettian staging commits the creators to gather in the subjectivity of Beckett, penetrate those most relevant facts of his life, know his main influences, his particular tastes for art, his frenetic obsession with certain actors of his day and, above all, realizing the political and social context in which he conceived his work. It is argued that little is known about the type of actor Beckett was looking for to play those strange characters laden with tensions and opposites present in his written pieces; but, understanding the nature of his work, his artistic visions, the dark, melancholy and existential features of his personality, it is argued that for Beckett the ideal actor was a dynamic, purposeful actor, open to the possibilities of creation and that he did not restricted by the treatment and needs of his work. Beckett was looking for an actor with a virtuous body fit for the scene, with a harmonious voice and a concise and accurate performance. Also, it is noted Beckett's attraction to those skilled actors, with a perfect handling of his gestures, with an expanded and dilated presence on the scene, with political and ethical ideals, with clear objectives regarding art and life. A type of activist actor, ready for denunciation and criticism. But, the most important thing, Beckett sought out that human being disciplined and dedicated to what he does, with a balance between technique and expressiveness, where his talent is the result of efforts, discipline, love for art and lived experience. [ABSTRACT FROM AUTHOR]

The author of the paper presents a revised version of a fragment of the final chapter of his doctoral thesis: Study on the word "Dieu" (God) in the written work of Valére Novarina, which he developed under the direction of Dr. Amador Vega Esquerra at the Universitat Pompeu Fabra from Barcelona (Spain). The thesis in mention covers the written work of the Franco-Swiss author, published from 1974 to 2014. It discusses the main works for theatre of the author in sacramental key and, from this analysis, a "Sacramental Theatre" is set around his theoretical prose. The extract stuns in the scan to outline an approach to an actor who, from the perspective of the sacrament, offers a unique experience in the theater, a place in which word and body intersect and that implies an active participation of the viewer. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional Interdisciplinar INTERthesis is the property of Revista Internacional Interdisciplinar INTERthesis and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moenia: Revista Lucense de Lingüística & Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article deals with memory and its role in the student-actor in his creation of staging processes. Because of this, research on memory and for memory allows having greater awareness and control over the mind processes, understanding the assimilation and accommodation processes of a content or knowledge in the individual, and invites to find and acquire strategies for the construction of a process of text memorizing and time optimization. This research was conducted in the Bachelor Degree Program of Performing Arts with emphasis in Theatre at Universidad de Caldas (Manizales, Colombia), and subsequently it was expanded to the School of Dramatic Literature and Theatre of Universidad Nacional Autonoma de Mexico, in the 2013 -II and 2014 - II periods respectively. [ABSTRACT FROM AUTHOR]

This study examines the possibility of defining a distinctive, historical national acting style. It takes into account the strength of eighteenth- and nineteenth-century nationalistic processes and their influence on the theatre, both in Europe and Spain, where similar forces and ambiguities were active, in the belief that each country's history and culture are signs of political identity and unity. In this process, actors are just another political instrument. [ABSTRACT FROM PUBLISHER]

This article presents an explanation of approaches assumed for the development of academic activities in the deepening core in Actuation "Staging and Actuation I and II" from the 345 Study Plan of the Bachelor in Performing Arts with emphasis in Theater program at Universidad de Caldas, in consideration to the aspects intervening in a creative process from the perspective of project-based learning , and how to objectify problems assigned to the actuation phenomenon within the framework of an observed and systematized practice. [ABSTRACT FROM AUTHOR]

In order to develop these ideas I must imagine standing in front of the mirror and touching the bottom of the reality I know from history and from what I have experienced. For it is from there that I can start questioning, in a reflexive way, my work as a future actress. I will talk first about what some people who have dedicated their kives to study and live from theater say. Then I will reflect on what is then the work of the actor-actress. I quote my personal experience in my process as a Bachelor in Performing Arts with emphasis in Theater from Universidad de Caldas. [ABSTRACT FROM AUTHOR]

Objectives: To unravel the dramatic structure and the underlying format in the dramatic text "De-sastres y costuras. De-lirios y crisantemos". To highlight the actuation levels -body-voice axis- in their staging. Scope: It is about giving continuity and monitoring to a very particular reading to the disaster produced by the Armero avalanche in 1985 which conclude with the drama, staging and a unique way to approach the work of acting, closely linked to the Aristotelian precepts contained in its Poetics, a work which outlines the structure and fundamental parts of the ancient Greek tragedy. Methodology: The essay intends to carry out a comparative reading -case study- about the play in the form of tragedy "De-sastres y costuras. De-lirios y crisantemos" from the Inverse Theater belonging to the research group Theater, Culture and Society from the Performing Arts Department from Universidad de Caldas. Conclusions: Reaching a categorization of playwriting and acting work of the Inverse Theatre group as a significant contribution to the research-creation processes of the Colombian theater movement. [ABSTRACT FROM AUTHOR]

This article is the product of the doctoral thesis "Rethorical variations on the word of God (Dieu) In Valère Novarina's written work" that was carried out as a requirement in the Humanities Doctoral Degree at te Pompeu Fabra University from Barcelona (Spain) under the direction of Amador Vega Esquerra. The purpose of this project is to uncover the theological context of the word God (Dieu) in Valère Novarina's written work. The project explores the ambiguous and fundamental role the word God (Dieu) in Novarina's work as an opening device to emptiness and as invocation of God through language, analyzing its aesthetic and theological implications. This way, a connection between the emerging post-dramatic theater theory and criteriology is offered for the study of the saint and the sacred in contemporary art. The study approach is qualitative and is framed in the Compared Theater studies of inductive approach: an approximation to each of its texts in a particular way in order to explain its specific nature (Micropoetics); later, a morphology of the complete play is established mainly around the rethoric related with God's word (Macropoetics) in order to, finally, enter into dialogue with theatrical theories of theological interest (Archipoetics). This article offers an introductory panorama of the main ideas that the French artist Valère Novarina suggests around actuation in his first reflexive text, Letter to the Actors. To start with, the article presents a contextualization of the Novarinian work; later the main characteristics of the work L'atelier Volant, whose rehearsal sessions serve Novarina as a stimulus to write the letter, are commented; finally, provocative ideas the author traces in what will be the base for his conception around theater and the actor's job are exposed [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In France, it is generally accepted that Kantor left no legacy. However, we are currently witnessing a renewed interest in his work amongst younger artists. This can partly be explained as the need to break away from a certain reactionary climate in terms of aesthetics, which is visible notably throug: - the existence of a general defiance against the autonomy of the stage, therefore implying a need to work on supposedly "legitimate" themes; - the explicit political position of the artist as a prerequisite to subsidized creation. The opposition stated here does not come from a generational conflict, but rather a dichotomy that positions French theatre between a theatre of representation, which is the largely dominant pole, and a theatre of presence, of which Kantor contributed to open up the way. There are in France, therefore, two opposing visions of the actor, seen either as having a proficiency that is summoned from a "neutral" state, or as a real presence that comes before all fictional construction; likewise, there are two ways of considering the separating line between the stage and the public, either as a threshold that calls to fraternize or as an unassailable barrier. This point of view is not that of a researcher, but rather one of a practitioner, educated at university and then at the Conservatory in the 2000's and who, therefore, knows Kantor's work only from its traces. [ABSTRACT FROM AUTHOR]

This article pretends to develop, from the director and the actor's view point, and in an anecdotic way, the idea on how the "Invocation of Fiction" proposal was configured taking the creation and confrontation processes with the audience as a reference, trying to discuss about tensions existing in reality and in fiction, and how the actor's body becomes the vehicle, or better, the bridge which allows the transit between presentation and representation. [ABSTRACT FROM AUTHOR]

Copyright of Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aside from its function as a valuable meta-text from the Grotowskian poetry,the article "Towards a Poor Theater" becomes an early and precursor affirmation of the theater philosophy in upward semiotic status and "linguistic turn" theories times. Published in Odra in 1965, the article was soon disseminated by several European magazines and collected in books in English in 1968 and in Spanish in 1970. Thanks to the Mexican Siglo XXI edition it is in circulation in Argentina since the beginning of the 70s. The objective of this work is to highlight some affirmations of "Towards a Poor Theater" as possible antecedents and sources for the central postulates of the theater philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Sociología del Trabajo is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Información y Comunicación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Sociológicos is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)