Actors

In today’s world where celebrity endorsers have become an integral part of life and the numerous celebrities in the form of TV stars,
movie stars and even social media stars, it has made it difficult for any marketer to properly find out the credibility of any celebrity.
This research aims to find out if consumer contribution, consumption and affection towards their favorite celebrities on social media
have any impact on credibility and if credibility can be used as a criterion for measuring celebrity endorsers.

The present research study is undertaken to fulfil the following objectives:
1) To study the impact of social media engagement on celebrity credibility
2) To understand the effect of factors like consumption, contribution and affection towards credibility
3) To study whether there is a correlation between celebrity credibility and consumer preferences

Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Article Julie de Lorimier 24 images, n° 167, 2014, p. 30-31. Pour citer cet article, utiliser l'information suivante : http://id.erudit.org/iderudit/71889ac Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI http://www.erudit.org/apropos/utilisation.html Document téléchargé le 20 octobre 2014 03:05 « De la danse comme révélateur : Denis Lavant dans Beau travail »

Work has historically been an important basis of identity, but the sharp decline in the availability of stable attachments to jobs, organizations, or occupations jeopardizes paid work's capacity to sustain identity. If available work opportunities are increasingly precarious and short-term, can the same be said for identities? Analysis of the efforts of members of an unusual occupational group -- stage actors -- to support an identity based on unstable work provides insights into the variability and indeterminacy of responses to structural employment uncertainty. Despite manifold identity threats, actors struggle to maintain identity as actors both in others' eyes and in their own.

L’histoire de la ville et de l’urbanisme algérois est souvent abordée comme une succession de productions « physiques » qui, par superposition ou extension, produisent la ville. Cette succession dans l’axe linéaire du temps nie certaines relations de cause à effet, de liens entre les formes produites et les pouvoirs organisateurs qui les produisent. L’approche en termes de récit présentée dans le texte permet d’englober l’ensemble des éléments hétérogènes qui constituent le fait urbain, les synthétisant dans un tout sous forme de système cohérent. Elle permet également de donner de l’épaisseur au temps et de re-diviser son axe par l’identification de plusieurs récits. L’article présente dans un premier temps un travail théorique visant à construire des outils méthodologiques pour l’étude des récits urbains. Il se base pour cela sur l’apport théorique de Paul Ricœur dans Temps et récits. Ensuite, il présente l’application d’une partie de ces outils sur le cas d’Alger et de sa période postindépendance.

Dieser Beitrag stellt den von Renate Mayntz und Fritz W. Scharpf entwickelten Akteurzentrierten Institutionalismus (AZI) vor. Er führt zunächst die wesentlichen theoretischen Elemente des Analyserahmens ein: Akteure, Akteurkonstellationen und Interaktionsformen. Danach gibt er einen Überblick über einige der wesentlichen empirischen Anwendungsfelder des AZI in der Forschung zu Politikgestaltungsprozessen auf der nationalen Ebene und im Rahmen des europäischen Mehrebenensystems. Abschließend diskutiert er die Vor- und Nachteile des AZI als Instrument zur Analyse von Policy-Entscheidungen. Zu den wesentlichen Leistungen des AZI zählt die analytische Vereinfachung von komplexen politischen Entscheidungssituationen durch die Nutzung leicht erhebbarer institutioneller Informationen für die Modellierung von Akteurspräferenzen und die Konzentration auf die Analyse von Kernkonflikten zwischen den wesentlichen Akteuren mit Hilfe einfacher spieltheoretischer Instrumente. Schwierigkeiten hat der AZI dagegen mit Situationen, in denen die politischen Auseinandersetzungen nicht zwischen, sondern innerhalb verschiedener Organisationen verlaufen. Zudem birgt die theoretische Offenheit des AZI den Nachteil, dass er theoretisch zu unbestimmt ist, um zur Ableitung klarer theoretischer Hypothesen herangezogen werden zu können.

This paper examines challenges facing SMEs in emerging ICT adoption from
diverse actors’ perspective using data driven thematic analysis approach -similar
approach to grounded theory. This study deployed both unstructured and semistructured
interviews with the total of 26 interviewees drawn purposefully from
Crunch online database in Luton. Data collected from the interviews were analysed to
understand both the challenges faced by SMEs and actors that pose such challenges
during ICT adoption. The study developed a framework that revealed certain actors
that took part in emerging ICT adoption the challenges they pose that impede SMEs
from adopting emerging ICT successfully. The finding revealed that Poor knowledge
of ICT, and Time are challenges linked to SME managers. Limited ICT support, lack
of specialised skills, limited funding, and general support are linked to the
government. Dependent and untrustworthy are associated with IT consultants while
global solution is linked to IT experts. Commercial interest is linked to IT vendors.
The implication is that while some challenges encountered by SMEs originate from
them, majority are caused by diverse entities which has constantly limit the extent
SMEs embrace new technology.

Teaching Actors is the first book of its kind that specifically addresses actor trainers’ understanding of teaching within their practice by drawing upon history, literature, and in particular a three-year study of leading drama schools in Australia and England. It offers practitioners who were trained in acting (or directing) a structure in which to think pedagogically about their teaching while acknowledging the different ways in which individuals apprehend experience. Stemming from over twenty years of experience in teaching and performing, Teaching Actors offers invaluable insights into both professions. It will be an invaluable resource for acting teachers in drama schools, lecturers in universities and further education colleges, and anyone interested in understanding knowledge and meaning construction in teaching and training.

Using imperative programming to process event streams, such as those generated by multi-touch devices and 3D cameras, has significant engineering drawbacks. Declarative approaches solve common problems but so far, they have not been able to scale on multicore systems while providing guaranteed response times.

In the twentieth century, in Italy was born a new category of actors: actors trained in a school. Previously, actors had always been trained in theatre companies or in the amateur sector, and they always had a very similar way of thinking about their craft and practicing it. Actors trained in schools broke the previous homogeneity. We will see how through the example of Teresa Franchini, the best student of the first real Italian public school of acting, and through the letters she wrote to her teacher Luigi Rasi.

Decision-making about spatial projects is very complex. Decisions to develop the Rotterdam harbour are being taken in a network of local, regional, national, European and international actors, both public and private. These decision-making processes show a lot of complexity and the outcomes are of great importance for the development of the harbour. The complexity results from interactions between actors connected in different arenas all thinking about the same project. In this paper we use network theory and especially the concepts actors and arenas to highlight the complexity of decisions and the connections between various separate decisions. We also show the outcomes of the decision making process are a result of the various connections that are being made. The spatial project at the core of the paper is a harbour expansion project called Maasvlakte II.

Immagini e memorie. Per gli ottant'anni di Gian Maria Volontè.-[Altritaliani.net] www.altritaliani.net/spip.php?page=article&id_article=1454 1/4 Cinema Immagini e memorie. Per gli ottant'anni di Gian Maria Volontè. domenica 14 aprile 2013 di Anna Maria Panzera Il 9 aprile Gian Maria Volontè, uno dei più grandi e più generosi attori italiani dell'epoca moderna, avrebbe compiuto ottanta anni. Se ne ando' mentre nasceva la seconda repubblica. Negli ultimi anni guardava con amarezza più all'estero che all'Italia, dove l'impegno civile e politico andava sparendo. Oggi molti lo rimpiangono, non come un divo o un mito, ma per il suo modo di fare arte e per la sua idea di coscienza artistica. Un italiano, capace di rappresentare il valore alto della storia e in modo militante il bene e il male dell'Italia. Oggi dovrebbe essere ancora qui. Ci manca. Mi sarei aspettata di più. Forse devono passare per forza cento anni dalla morte o dalla nascita di qualcuno che è stato un "grande", perché valga la pena di ricordarlo. O forse certe memorie devono rimanere sopite, perché emergendo specchierebbero troppo lucidamente la quantità enorme di impegno e di valore il cui invito abbiamo ormai pressoché definitivamente declinato. Certo è che il 9 aprile appena trascorso Gian Maria Volontè avrebbe compiuto ottant'anni e questa data, che sarebbe stata un bel momento per ricordare il più grande attore italiano dell'epoca moderna, è stata attraversata solo dai lievissimi sussurri dei media, delle televisioni, dei giornali, delle istituzioni: insomma, il solito assordante silenzio. Solo un canale privato ha mandato in onda alcuni tra i film più famosi, la casa di produzione RaroVideo (Minerva Pictures Group) ha presentato a Roma il box Gian Maria Volontè a cura di Bruno Di Marino, e sul web sono corse immagini dell'attore sottotitolate da pensieri privati di "fan" affezionati. Forse qualche altra iniziativa qui e là ci sarà anche stata, ma non ha avuto risonanza. Mi sarei aspettata di più. Non è certo per dovere di cronaca, che mi accingo a scrivere queste poche parole. Lo faccio, io che non sono una critica cinematografica, né una storica del cinema, tantomeno esperta della settima arte, per l'affetto-se così si può direverso un artista che ha accompagnato le mie età giovani nella conoscenza di storie bellissime, che hanno fatto-tra tante altre immagini e sollecitazioni-la mia formazione, la mia "educazione sentimentale". Penso agli indimenticabili "sceneggiati" RAI in bianco e nero (dalle apparizioni nel Maigret interpretato da Gino Cervi, all'Idiota tratto dall'omonimo romanzo di Dostoevskij, all'amatissimo Caravaggio per la regia di Silverio Blasi); e poi i film: impossibile sceglierne uno che li possa rappresentare tutti, perché in ogni pellicola Volontè ha costruito ritratti originali, di grande impatto, di unicità assoluta. Così, per scorrere velocemente i titoli più noti:

Dopo Che ne sarà di noi (Giovanni Veronesi, 2004), istintivamente e senza prendermi troppo tempo per pensarci, ho subito indicato Elio Germano, classe 1980, come il miglior attore italiano non solo della sua generazione, la mia dopotutto -nato nel 1978, ma dell'intera storia cinematografica italiana, facilmente accostabile agli storici "moschettieri" del cinema nostrano come Sordi, Manfredi, Gassmann, Tognazzi e Mastroianni -tant'è che sarà proprio Germano a interpretare Nino Manfredi ne In arte Nino (Luca Manfredi, 2016). A lui vanno aggiunti altri ottimi attori, volti e corpi di prestigio del nostro cinema, che rispondono e ovviamente Carlo Verdone. Chi nato prima, chi nato dopo, tutti contribuiscono a una definizione del nostro cinema in senso autoriale, dando all'attorialità un comune denominatore ben radicato nella storia.

The article presents the results of the research carried out in the El Progreso neighborhood and the Tarragona district of the municipality of Florida in Valle del Cauca with the purpose of identifying the incidence of governance in the territorial development of the aforementioned territories. The exercise is carried out from a qualitative methodology that uses the Analytical Framework of Governance-MAG, which allowed establishing the nodal points from the interaction of its actors and validating the norms or agreements reached between them, and how they contribute to the improvement of the living conditions of the populations; The techniques used were the semi-structured interview with key actors and the documentary analysis of both management reports and policy documents such as municipal development plans and theoretical references. For the information analysis the atlas ti was used. The information triangulation technique was useful when countering the information obtained from...

El análisis del discurso es un tema de interés para las ciencias sociales es por ello que nuestro análisis se alimentará de diversas aportaciones emanadas de estas disciplinas. Nuestro propósito en este trabajo es aproximarnos a la naturaleza del análisis del discurso que nos permite develar la relevancia que va cobrando el tema para la teoría y para la práctica de la política. Los actores de la vida política son diversos y su lenguaje es expresado en discursos orales o escritos, entrevistas, acciones etc. de carácter político. Todos ellos representan cuotas de poder; en este sentido, la palabra (discurso) queda asociada al poder y, por ende, a la política. ----------------------------------------------------------------------------- Being discourse analysis is a topic of interest to social science our analysis will feed on various contributions arising from these disciplines. Our purpose in this paper is the nature of discourse analysis that allows us to understand the relevance th...

The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere [14][15], but rather explicate the theoretical background that underlies the design of these screen-based instruments. After an analysis of the similarities and differences in the design of acoustic and screen-based instruments, the paper describes how the creation of an interface is essentially the creation of a semiotic system that affects and influences the musician and the composer. Finally the terminology of this semiotics is explained as an interaction model.

, "The other seen by itself. Posthuman aesthetics in 'Rimini Protokoll's Uncanny Valley". Dr Macioszek Sabina (Poland), "Human-machines ecologies: theatre as a platform for creating specific relationships between humans and new technologies".

Il 9 aprile Gian Maria Volontè, uno dei più grandi e più generosi attori italiani dell’epoca moderna, avrebbe compiuto ottanta anni. Se ne ando’ mentre nasceva la seconda repubblica. Negli ultimi anni guardava con amarezza più all’estero che all’Italia, dove l’impegno civile e politico andava sparendo. Oggi molti lo rimpiangono, non come un divo o un mito, ma per il suo modo di fare arte e per la sua idea di coscienza artistica. Un italiano, capace di rappresentare il valore alto della storia e in modo militante il bene e il male dell’Italia. Oggi dovrebbe essere ancora qui. Ci manca.

The purpose of this paper is to introduce a framework to analyse water politics and governance. The framework has been constructed from a social constructivist perspective. This theory places attention on the role of normative aspects like ideology, values, interests and culture in politics. This means that a theory of international relations such as neorealism, neoliberalism or structuralism would be appropriate but limiting for the analysis of water politics, in terms of the range of actors, processes and issues focused on. The framework's niche lies in that it focuses attention on non-state actors. This carries the potential to widen the understanding of the role and involvement of such actors in water politics and governance. The framework has five components: description of the geographic area or issue; the actors involved in water politics and governance; the (hydropolitical) history of the issue; the actors' power to enable change; and the type of interaction between the actors. In order to illustrate the components, examples from South and Southern Africa, and specifically the Kunene, Limpopo, Okavango and Orange River basins are used.

Background: Evidence-informed policymaking has been promoted as a means of ensuring better outcomes. However, what counts as evidence in policymaking lies within a spectrum of expert knowledge and scientifically generated information. Since not all forms of evidence share an equal validity or weighting for policymakers, it is important to understand the key factors that influence their preferences for different types of evidence in policy and strategy development. Method: A retrospective study was carried out at the national level in Nigeria using a case-study approach to examine the Nigerian Integrated Maternal Newborn and Child Health (IMNCH) strategy. Two frameworks were used for conceptualization and data analysis, namely (1) to analyse the role of evidence in policymaking and (2) the policy triangle. They were used to explore the key contextual and participatory influences on choice of evidence in developing the IMNCH strategy. Data was collected through review of relevant national documents and in-depth interviews of purposively selected key policy and strategic decision makers. Thematic analysis was applied to generate information from collected data. Results: The breadth of evidence used was wide, ranging from expert opinions to systematic reviews. The choice of different types of evidence was found to overlap across actor categories. Key influences over actors' choice of evidence were: (1) perceived robustness of evidencecomprehensive, representative, recent, scientifically sound; (2) roles in evidence process, i.e. their degree and level of participation in evidence generation and dissemination, with regards to their role in the policy process; and (3) contextual factors such as global agenda and influence, timeline for strategy development, availability of resources for evidence generation, and lessons learnt from previous unsuccessful policies/plans. Conclusion: Actors' preferences for different types of evidence for policy are influenced not only by the characteristics of evidence itself, but on actors' roles in the evidence process, their power to influence the policy, and the context in which evidence is used.

It is necessary for urban regeneration projects to be carried out successfully in coordination with other actors. During the process of realising regeneration, many actors and strategically-given decision play a crucial role. The ways how actors/factors are involved in the process, the relationships founded among them and investigating the methods followed during the process constitute the content of this study. The purpose of this study is to develop an approach with regard to the coordination established between actors/factors that participated during the regeneration process. This study covers the regeneration activities realised in Fikirtepe and its surrounding area, and it aims to solve the relationships among the actors during the time of planning and applications by using the semi-structured technique, one of the qualitative research methods, and detailed interviews. Thanks to the data gained from the effectiveness of the detailed interview of the actors have been determined.  By the help of the findings obtained from Fikirtepe region, the relationships and coordination among the actors have been revealed and a new approach has been created (and suggested) concerning the effectiveness and coordination.

The article focuses on the role of historical consciousness, which is related to the role of memory in the creation and the existence of individual consciousness. The fact of identity, evidence of the sanity of the individual is expressed in the ability to recall the past, names and dates, own biography, the loved ones, relationship with them and the ability to tell about it. In the author’s opinion, conflicts with such «memories» are starting to adopt the international character and the socio-cultural and technological platform to change political realities is being actively formed.

Статья посвящена роли исторического сознания, которая родственна роли памяти в формировании
и в существовании индивидуального сознания. Факт самосознания, свидетельство вменяемости личности выражается в способности вспомнить прошлое, имена и даты, собственную биографию, своих близких, отношения с ними, рассказывать об этом. На взгляд автора, конфликты таких «памятей» начинают принимать международный характер, активно формируется социально-культурная и технологическая платформа для смены политических реалий.

Translation from German to English: Mirko Wittwar Body on Stage The relation between actor/actress and audience is extremely complex. Furthermore, it is different each time, as each performance is unique as such. In each case there develops a multi-layered relation, a kind of assemblage with a variety of connective and disjunctive relations. In the course of the performance these relations develop between actors/actresses and audience as well as between the actors/actresses on the stage. Just the same, however, within each actor/actress there develops an extended network of differential references, which is a precondition for successful acting. This process might be called artistic research or, to have it in the language of theatre, the research and investigation of the layers and stories of the characters which must be seen, understood and updated, i. e. they must be made visible. * This text is supposed to focus on an event taking a successful performance to its extremes, when it comes to its poignancy. This may indeed be equated with a spectacle. This is to say that, by acting on stage, the position of the subject is put into question. It is deprived of its priority, of its firstperson position, of its safe harbour. The sovereign subject is deprived of its power. It loses its crown which falls on its own feet. This may be read as a kind of destabilisation or even a narcissistic humiliation of the ego. At the same time this displacement contradicts itself. Is it not that it is the crucial event of creativity? The heart of the performing arts, beyond their aesthetic formats? Is it

This article contributes to the debate on liminality within International Relations (IR) theory by focusing on the actorness of the European Union (EU) and Hamas. The concept of liminality as a transitional process is applied to frame the situation of both the EU and Hamas as political actors in-between socially established categories. This article explores how the liminal identity of these two actors impacts, on the one hand, their relations with each other and, on the other hand, their relations of ‘self’. Exploring the procedural relations of the EU and Hamas, it argues for the necessity of recognising liminal categories in IR theory and practice, while, at the same time, it highlights the limits of such in-between categories in a world order still structured around the state.

Automatic storage management is important in highly parallel programming environments where large numbers of objects and processes are being constantly created and discarded. Part of the difficulty with automatic garbage collection in systems of active objects, such as actors, is that an active object may not be garbage if it has references to other reachable objects, even when no other object has references to it. This is because an actor may at some point communicate its mail address to a reachable object thereby making itself reachable. Because messages may be pending in the network, the asynchrony of distributed networks makes it difficult to determine the current topology. Existing garbage collection schemes halt the computation process in order to determine if a currently inaccessible actor may be potentially active, thus precluding a real-time response by the system. We describe a generation based algorithm which does not require ongoing computation to be halted during garbage collection. We also outline an informal proof of the correctness of the algorithm.

— Multi-agent system (MAS) simulation, a growing field within artificial intelligence, requires the creation of high-performance, parallel, and user-friendly simulation frameworks. The standard approach is to use threads and shared memory. The drawbacks of this approach are the common concurrency pitfalls of race conditions and performance loss due to synchronization. Our goal was to evaluate the feasibility of an alternate model of concurrency, actors. An actor can be thought of as a very lightweight thread that does not share memory with other threads, instead communicating only through message passing. Actors seem to be a natural fit for this task, since agents are concurrently processed objects that communicate with each other through message passing. We write an actor framework and an equivalent threaded framework in the modern object-functional JVM language Scala and compare their performance. We conclude that the actor model seems like a natural fit, but its performance is in...