Sarah Corrie and David A. Lane, in conversation with Prunella Scales and Timothy West
In this chapter, we have three principal goals. The first is to chart how a conversation between the four of us (Scales, West, Corrie, and Lane) elicited particular themes that confront Scales and West as professional actors when approaching the task of portraying a character. (For the purposes of this chapter, the terms “portraying a character,” “understanding character,” and “formulation” are used interchangeably.) The second is to identify themes that might represent shared concerns between actors and those working in the psychological disciplines. The third is to identify methods that professional actors use to understand a character and to consider how, if at all, these methods might be used to support, critique, or refine psychology practice.
In order to capture the richness of the ideas that emerged, as well as the conversational mode of data gathering employed, we found it helpful to adapt Gergen and Davis’s (2003) framework, organizing our discussion into what we term “conversational themes”. These conversational themes, illustrated by direct quotations, represent distinct and recurring motifs that appeared to have a critical importance for how Scales and West made sense of their work. We summarize each theme by highlighting key issues and seemingly shared dilemmas, concluding with some specific questions that we believe are worthy of further scholarly investigation. A summary of the conversational themes is provided in Table 5, as a means of navigating the chapter.
The landscape and ecology of the western United States, no less than smoke and ash, are products of fire. Humans have busily applied the torch and just as busily mobilized an arsenal of extinguishers. Our application and withdrawal of fire have been powerful elements in labor’s transformation of nature, and our choices about whether to burn or to douse have been shaped by the imperatives of production. Over the last century, the pattern of fire has been a rebellious reflection of the drive to profitably exploit forests—for timber, yes, but, more important, for profit. Fire—a complex process with enormous ecological significance—became a threat to the maximization of timber production and a menace to investment. As both capital and the state mobilized to minimize threats to continual accumulation, fire was chased from the forests with amazing success. While there is truth to the critique that the Forest Service throws money at big fires until the rain comes, there is no doubt that the habitat of open flame has dwindled since the US empire’s western advance. Only very recently have many of those who work with fire and forests come to see that the removal of fire has created a rift in the natural processes of forest ecology and in some places created the very conditions for the conflagration it sought to subdue.
Oto lista opcji, ktre mona wykorzysta podczas uruchamiania powoki bash. Opcje wieloliterowe musz by wymieniane w wierszu polecenia przed opcjami jednoliterowymi. Powoki logowania s zazwyczaj uruchamiane z opcj -i (praca interaktywna), -s (odczyt ze standardowego strumienia danych) i -m (wczenie kontroli zada).
Poza ustawieniami wymienionymi w TabelaA-1 mona uwzgldni w wierszu polecenia kad opcj dyrektywy set. Zestawienie parametrw dyrektywy set jest zamieszczone w dalszej czci rozdziau. Na szczegln uwag zasuguje tutaj opcja -n, ktra jest nieoceniona podczas weryfikacji skadni skryptu (zagadnienie to jest tematem 19.12. Sprawdzanie skadni skryptu powoki).
Tabela A-1. Opcje doczane do wywoania powoki bash w wierszu polece
Jeli cig_tekstowy jest zdefiniowany, dostarcza polecenia do wykonania. Ewentualne parametry wystpujce za podanym cigiem s uznawane za parametry pozycyjne, liczone od $0.
Do standardowego strumienia wyjciowego jest przekazywana lista wszystkich cigw otoczonych znakami cudzysowu i poprzedzonych znakiem $. S to wartoci przeznaczone do tumaczenia, gdy ustawienie regionalne (locale) nie odpowiada wartoci C lub POSIX. Jednoczenie automatycznie doczana jest opcja -n.
You can create almost any kind of picture or effect in Flash, but sometimes you already have the perfect piece of sound or videoand its in another file. No problem: Flash lets you pull in all kinds of other media fileslike songs in MP3 files or QuickTime videos. Whether youre showcasing your bands performances, creating an employee training website, or creating an online wedding album, Flash has all the multimedia tools for the job.
When Flash was born, it was a big deal to have moving pictures on the Internet. Most folks had pretty slow Internet connections, so it was a kick to see pictures move, even if they were simple, cartoonish images. The same was true of even the most basic sound effects. Today, we expect to use the Net to watch our favorite movies, sports, and TV shows. Sounds have gone from beeps and bells to radio broadcasts, audiobooks, and entire albums of music. Things have changed, and Flash is often at the center of the revolution. Apples resistance to Flash on its handheld devices has been an epic battle between two tech heavyweights. One reason its been so controversial is the fact that so many websites use Flash to broadcast video.