Back Stage in 1912. The Inside Story of the Split Republican Convention

John D. Hicks; Victor Rosewater

doi:10.2307/1897834

Chains of Freedom

10.1093/oso/9780198802945.003.0002 ◽

2017 ◽

Author(s):

Diane-Laure Arjaliès ◽

Philip Grant ◽

Iain Hardie ◽

Donald MacKenzie ◽

Ekaterina Svetlova

Keyword(s):

Detailed Examination ◽

Investment Performance ◽

Front Stage ◽

Back Stage ◽

Investment Process ◽

The Way

Chapter 2 begins the detailed examination of the investment chain. It introduces some of the main sets of intermediaries and what their jobs are. The chapter also sketches how those intermediaries enable and constrain each other and form audiences for each other’s presentations of self. Behind the pervasive ‘front-stage’ presentations of an orderly, rigorous investment process, suggests Chapter 2, there lies a normally hidden, more messy, Goffmanesque ‘back stage’ of failures, uncertainties, and sometimes dissent. The chapter also highlights the way in which the numbers that measure investment performance obscure the ethical-political, labour, and legal conditions that make them possible.

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The role of dyadic interactions between CEOs, chairs and owners in family firm governance

Journal of Management & Governance ◽

10.1007/s10997-020-09561-7 ◽

2021 ◽

Author(s):

Hanna Maria Sievinen ◽

Tuuli Ikäheimonen ◽

Timo Pihkala

Keyword(s):

Decision Making ◽

Cognitive Conflict ◽

Family Firm ◽

Dyadic Interaction ◽

Dyadic Interactions ◽

Board Processes ◽

Governance Process ◽

Back Stage ◽

Firm Owners

AbstractThe objective of this case-based study is to understand how the dyadic interaction between the key governance actors can influence the decision-making aimed at directing and controlling a family firm. The study provides evidence that dyadic interaction at the back stage of the formal governance process can offer a privileged position for the family firm owners who serve on the board, and the non-family member Chair of the Board, to influence decision-making before, after and between board meetings. The cases studied suggest that dyadic interactions can serve as preparation for formal board processes and complement and clarify them, yet they also have the potential to conflict with them. Dyadic interaction is also shown to offer important relational and emotional benefits that may not necessarily be achieved through larger group interaction. The findings suggest that although the actors can self-regulate their behaviour through informal rules, the rules may imperfectly address one risk of dyadic interaction—the reduced cognitive conflict among the board.

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A Separated Reset Waveform Design for Suppressing Oil Backflow in Active Matrix Electrowetting Displays

Micromachines ◽

10.3390/mi12050491 ◽

2021 ◽

Vol 12 (5) ◽

pp. 491

Author(s):

Linwei Liu ◽

Pengfei Bai ◽

Zichuan Yi ◽

Guofu Zhou

Keyword(s):

Experimental Data ◽

Dielectric Layer ◽

Waveform Design ◽

Second Phase ◽

Active Matrix ◽

Two Phases ◽

Back Stage ◽

A Charge ◽

Electric Field Force ◽

Driving Waveform

The electrowetting display (EWD) is a kind of reflective paper-like display. Flicker and grayscale distortion are caused by oil backflow, which is one of the important factors restricting the wide application of EWDs. The charge embedding caused by the electric field force in the dielectric layer is the cause of oil backflow. To suppress oil backflow, a separated reset waveform based on the study of oil movement is proposed in this paper. The driving waveform is divided into two parts: a reset waveform and a grayscale waveform. The reset waveform generated by a reset circuit can be used to output various voltages. The grayscale waveform is set as a traditional PWM waveform. The reset waveform is composed of a charge-releasing stage and oil-moving back stage. Two phases are contained in the charge releasing stage. The overdriving voltage is used during the first phase to reverse the voltage of all pixels. The trapped charges can then be released from the dielectric layer during the second phase. A higher voltage is used during the oil-moving back stage to drive the oil faster in the pixel. By comparing the experimental data, the oil backflow time is extended 761 times by the reset waveform. The four grayscales can be maintained by the reset waveform after driving for 300 s.

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Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta

Koneksi ◽

10.24912/kn.v3i2.6391 ◽

2020 ◽

Vol 3 (2) ◽

pp. 351

Author(s):

Dwi Sabrina ◽

Lusia Savitri Retno Utami

Keyword(s):

Popular Culture ◽

Data Collection ◽

Identity Formation ◽

Rapid Development ◽

Family Experience ◽

Self Identity ◽

The World ◽

Front Stage ◽

Back Stage ◽

Collection Methods

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas.

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DRAMATURGI DALAM PROSES LEGISLASI

Widya Komunika ◽

10.20884/wk.v9i2.1912 ◽

2019 ◽

Vol 9 (2) ◽

pp. 42

Author(s):

Tulus Tampubolon ◽

Guntur Freddy Prisanto ◽

Niken Febrina Ernungtyas ◽

Irwansyah Irwansyah ◽

Sekartaji Anisa Putri

Keyword(s):

Qualitative Research ◽

Impression Management ◽

Political Communication ◽

The Political ◽

Communication Behavior ◽

Observation Data ◽

Political Actor ◽

Front Stage ◽

The Republic ◽

Back Stage

Abstract As a political communicator, members of the DPR RI need to realize good political communication for the sake of the continuation of democracy. The Indonesian Parliament as a political actor that has an important role in the sustainability of democracy needs to manage their political communication from the front stage, back stage, and impression management aspects according to Goffman's theory as well as possible. In this study, it was examined how the political communication of the Indonesian Parliament in revising Law No. 32 of 2002 using the Goffman drama theory. The method used in this research is qualitative research using observation data collection techniques to three groups of the Republic of Indonesia DPR. From this dramaturgical analysis the researchers found that DPR groups had three front stages and one backstage each. Also found was a shadowing stage faced by the DPR in carrying out political communication activities. Political communication behavior carried out at the front stage is more formal and prioritizes the interests of the community. As is the case at the back stage, political communication is more relaxed and personal and group interests emerge. Key words: Dramaturgy, Legislative Dramaturgy, Indonesian Parliament Dramaturgy Abstrak Sebagai komunikator politik, anggota DPR RI perlu mewujudkan komunikasi politik yang baik demi kelangsungan demokrasi. DPR RI sebagai aktor politik yang memiliki peran penting dalam keberlangsungan demokrasi perlu mengelola komunikasi politik mereka dari aspek front stage, back stage, serta impression management sesuai dengan teori Goffman sebaik mungkin. Dalam penelitian ini diteliti bagaimana komunikasi politik DPR RI dalam melakukan revisi UU No. 32 tahun 2002 dengan menggunakan teori dramatugri Goffman. Metode yang digunakan dalam penelitian ini ialah penelitian kualitatif menggunakan teknik pengumpulan data observasi kepada tiga kelompok DPR RI. Dari analisis dramaturgi ini peneliti menemukan temuan bahwa kelompok-kelompok DPR memiliki masing-masing tiga pangung depan dan satu panggung belakang. Ditemukan juga panggung bayangan yang dihadapi oleh DPR dalam menjalankan kegiatan komunikasi politik. Perilaku komunikasi politik yang dilakukan pada front stage bersifat lebih formal dan mengutamakan kepentingan masyarakat. Lain halnya dengan yang dilakukan pada back stage, komunikasi politik bersifat lebih santai dan muncul kepentingan-kepentingan pribadi maupun kelompok. Kata kunci: Dramaturgi; Dramaturgi Legislasi; Dramaturgi DPR

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Double P! Public Spaces in Dubai: a Paranoiac Panopticon

The Journal of Public Space ◽

10.32891/jps.v5i1.1141 ◽

2020 ◽

pp. 247-262

Author(s):

Therese Chidiac

Keyword(s):

Public Space ◽

Free Market ◽

Public Spaces ◽

Design Guidelines ◽

Future Research ◽

Cultural Images ◽

Human Scale ◽

Free Market Capitalism ◽

Back Stage ◽

The City

Despite the crisis of the metaphoric growth of its superficiality to its deadening sterility, Dubai stands as an attractive destination in the desert simulating a collage of cultural images from around the world with a centrally-planned free market capitalism attracting investors and developers. This paper is part of my master in architecture thesis at Politecnico di Milano titled: 5km/hr Manifesto and it outlines the problematical aspect of Dubai DNA: Dubai public spaces. The city is metaphorically analysed, as a collage city of exogenous fragments and a system city resembling a biological cell with defects in it’s the so-called public spaces that are designed as a model of a virtual panopticon of social surveillance forged by a set of do’s and don’ts. Built up rapidly over the past few years on the wealth gotten from oil, public spaces in Dubai have no depth of history or indigenous culture, no complexity, no conflicts, no doubts, nothing to stand in the way of its being shaped into the ultimate wonderland. The Arab notion of public has been dramatically ignored in the planning of the city and has been replaced with a collage of regulated western modernist spaces that have failed to create pockets of interaction and communication bringing in mind a problematical situation and an utopic question: How to demystify the panopticon effect and make Dubai more liveable? This leads to the recall of the qualities of the endogenous Arabic Public Space: The Souk. A set of characteristics has been concluded and if integrated, might really change Dubai public spaces from a paranoic panopticon to a more liveable space. Enclosure and privacy, human scale and density, the stage and back stage effect were essential conditions in the souk and are elaborated in this paper presenting a set of new design guidelines for claiming back what is supposed to be public and might develop into further future research.

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