Collocation Methods for Parabolic Equations in a Single by Jim Douglas

By Jim Douglas

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The emphasis is on the moving body, fragments of movement, which are used to deconstruct spoken, visual or spatial texts. The purpose of the bodily presence of the performer dictates and draws the attention of the spectator, giving meaning to the spatial relationship of performer and object or simply structuring the performance continuum. The body displays a fictional world and is integral to the creation of theatrical meaning. ”22 The orientation of the performer’s body can signify the performer’s attitude to her environment; for example, the performing Professor in her papier mâché cake costume is dressed by the lecturer/lighting designer and technical tutor/costume designer, signifying the politics of both theatre and academic study.

In the telling of past memories or moments, the performer constructs the meaning of the next moment or memory. The textual mediations contribute to the performer’s self-construction as to who she is and how she negotiates the continual shifting divisions between her private, public and unconscious selves. The subject of this discourse is my life at a particular ‘moment’. Fragments of autobiographical discourse are communicated as the performative experiencing self encounters the narrative self in performance and tries to document it.

At the same time, the imaginative construct by the audience of ‘the performer’ playing in the space, and the physical creation of the ‘persona’, constructed by the performer via the moving body and the use of costume, contributes to several levels of semiotic function in relation to space, place, fiction and time. The performer is offering her presence and, “the making of meaning is subordinated to the experience of the present moment”24 How is that ‘moment’ conveyed to the spectator? qxd 42 3/5/06 1:29 pm Page 42 | THE POTENTIALS OF SPACES: THE THEORY AND PRACTICE OF SCENOGRAPHY AND PERFORMANCE installation, photography and other forms of expressive media.

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