L'injure mise en scène. A propos d'un « insulteur public » dans la société baghdadienne du XIe siècle by Evelyne Larguèche

“…As he follows the unfolding of this 24 hours, the reader understands that it is an entertainment, which follows well defined rules, and wherein actors and spectators play established roles. The paper analyses and comments the ways and techniques used for this staging of insult.…”
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Conducting a Successful Livestock Show for Youth by Chad Carr, Justin Crosswhite, Jennifer Shike, Heather Shultz

“…Make sure the entire event is as stress-free as possible for the livestock, youth exhibitors, their families, and show management, and as educational as possible for youth exhibitors, their families, and all public spectators. Consider the recommendations in this 4-page fact sheet written by Chad Carr, Justin Crosswhite, Jennifer Shike, and Heather Shultz, and published by the UF Department of Animal Science, December 2011. …”
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Conducting a Successful Livestock Show for Youth by Chad Carr, Justin Crosswhite, Jennifer Shike, Heather Shultz

“…Make sure the entire event is as stress-free as possible for the livestock, youth exhibitors, their families, and show management, and as educational as possible for youth exhibitors, their families, and all public spectators. Consider the recommendations in this 4-page fact sheet written by Chad Carr, Justin Crosswhite, Jennifer Shike, and Heather Shultz, and published by the UF Department of Animal Science, December 2011. …”
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Curadurías y cuerpos expandidos: sobre exhibiciones de arte en espacios virtuales by Guadalupe Baliño, Danila Desirée  Nieto

“…Based on the analysis of two different experiences of art exhibition on virtual spaces, which emerged in 2020 in Argentina, Hábito Galería and Aura NFT, we will propose points of analysis to think about some drifts about the experience of the body in the spectators and users of art in the virtual exhibition spaces, taking into account online and web curatorial operations, and within the framework of a complex context marked by the strategies left by the COVID 19 pandemic in terms of visibility, production and distribution of art, and the new forms in relation to new technologies in communication, the digital art market and its registration in the blockchain.…”
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Les tours de la machine et les détours du langage : Le Marchand de Venise mis en scène par Luca Ronconi by Carole Guidicelli

“…Within the spirit of the Renaissance these machines were a meaningful addition to the operation of the Italian stage: by cutting and segmenting the scenic image thanks to the positioning of the curtains and frames, Luca Ronconi thus constructs the spectators’ point of focus on the play.…”
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La possessione nella pantomima by Manlio Marinelli

“…From the sources, it is possible to highlight that during the performance the spectators and pantomimes shared a state of mania: Dion and Plutarch state that this particular condition had a bad influence on the psychological balance of the performer and the audience, while Lucian proposes two different categories of pantomime: the best is able to manage the state of mania, in contrast to the second that loses his abilities as well as control of himself.…”
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Pourquoi filmer sa culture ? Rituel et patrimonialisation en Amazonie brésilienne by Chloé Nahum-Claudel, Nathalie Pétesch, Cédric Yvinec

“…The article examines the reasons for the choice of particular rituals as the incarnation of culture; the political and symbolic implications of the performance of culture; the modalities through which films are produced; the choice of spectators for this culture-on-film and the play of revelation and concealment of ritual knowledge which the filmic media enables. …”
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Le spectacle sportif, l’héroïsation et la construction du genre by Robin Recours, Sylvain Ferez

“…However few empirical studies have investigated her place in the perceived (or subjective) world of spectators. The authors questioned 878 students from two levels of secondary education in the Provence, Alpes, Côte d'Azur Region in Southern France. …”
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Historia infantilizada en películas biográficas de animación : Bolívar, el Héroe y Eva de la Argentina by Tzvi Tal

“…The Colombian film fails to impact the spectators because the imitation of the Japanese anime aesthetics, it is demobilizing and unattractive, represents women as stereotypical sexual objects. …”
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What Hitchcock Taught Us about Whodunnits by Dominique Sipière

“…Although he specialised in crime thrillers, Alfred Hitchcock avoided filming whodunnits: his dislike gives a clue to both readers and spectators about the nature of what could be termed a “Hitchcock-genre” and about the thrill some still get from seemingly old fashioned novels of the 1930s. …”
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A Violent Need for Distance by Laurent Mellet

“…how can violence be inflicted upon readers or spectators with a view to making them believe? Whether the distance be in focalisation or metafiction, the rift violently makes empathy irrelevant and establishes a new narrative rhythm that reshuffles fiction and posits narration no longer as the means but as the end of writing.…”
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Kitsch as Experience of the World by Darío Hernández Guerra

“…Kitsch art generates an irresistible force of attraction towards its spectators that greatly captures attention. This allure belongs to a rarefied nature that brings to light the pleasures and delight of purely aesthetic appeal. …”
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Characteristics of participants in a public rubella antibody testing program conducted at a Japan professional football league venue by Toshinori Nishizawa, Kuniyoshi Hayashi, Noriyuki Amano, Gautam A. Deshpande, Hiroko Arioka

“…Conclusions Public health attention raised by celebrity athletes may facilitate rubella awareness among male spectators.…”
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Le récit mythique d’une conversion : La Argentina à l’Athénée de Madrid by Hélène Frison

“…That evening, while she performed at the Athenaeum in Madrid in front of "intellectuals, painters, writers, poets, musicians," a double shift took place: while the spectators experienced a kind of epiphany of the dance, she became aware of what her priesthood would be from then on - to embody "the spirit of the Spanish dance". …”
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Le film de tournage shakespearien : fiction documentarisée ou documentaire fictionnalisé ? by Sarah Hatchuel

“…The disclosure of illusion is framed by a wish to channel the spectators’ reception, in a filmic discourse that attempts to turn the author’s point of view into an authoritative voice.…”
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Affective Immersion in Large-Scale Moving Image Installations by Zsolt Gyenge

“…The final suggestion of the paper is that the spectators’ experience of such moving image installations is best understood through the description of the interplay between what I term embodied self-reflexivity and affective immersion.…”
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« Base Phrygian Turk! »  Injures et « espèces de… » : analyse microscopique d’un étrange spécimen shakespearien by Nathalie Vienne-Guerrin

“…This article offers an interpretation of the strange term “base Phrygian Turk” that Pistol uses to insult Falstaff in The Merry Wives of Windsor. If the spectators understand why Slender is called “latten bilbo” (1.1.150) or “Banbury Cheese” (2.2.120), and why Falstaff is called “whale” (2.1.56), “hodge pudding” (5.5.150) or “bag of flax” (5.5.150), this “Base Phrygian Turk” is less transparent and resists interpretation. …”
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‘Je n’ai rien à dire. Seulement à montrer’ : le travail photographique et poétique de Natalie Czech by Vanessa Desclaux

“…For several years Czech has invited spectators to share her affection for the poetic texts that she appropriates. …”
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Influence of the pairs in the expression of bullying in high school students in Arequipa by Filiberto Bellido, Renzo Rivera, Julio C. Salas, Verónica Bellido, Norma Peña, Guillermo Villasante, Yesenia Casapía

“…As for the frequency of bullying, there is a high prevalence of perpetrators and victims among respondents, nearly half of the sample, while the other part is for the spectators whether these enhancers bullying or prosocial.…”
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Writing about displays of sculpture: historiography and some current questions by Malcolm Baker

“…How do both curators and spectators engage with sculptures which were once site-specific but which are now decontextualized or rather re-contextualised as gallery sculptures? …”
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