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Factors in the Economic Reforms of China, Eastern Europe, and the Former Soviet Union.” In Economic Policy, 9/18, 1994, pp. 101-145 Schmitz Jr., James A. “The Role Played by Public Enterprises: How Much Does It Differ Across Countries?” In Federal Reserve Bank of Minneapolis Quarterly Review, 20/2, 1996, pp. 2-15 Schneider, Friedrich. “Privatization in OECD Countries: Theoretical Reasons and Results Obtained.” In DICE (Ifo Institute for Economic Research, University of Munich), 1/3 (02), 2003, pp. 24-29 Sharma, Shalendra D. “Why China Survived the Asian Financial Crisis

indeed work and Kim Jong Un and the system will survive, but this is by no means to be taken for granted. What we have seen in the days since December 19th is an attempt to accomplish in two weeks for Kim Jong Un what had been given two decades or more for Kim Jong Il. This includes the dramatic change in status of the heir’s father. To me, this is the single most important development in the current succession, and should thus be understood and watched carefully. Kim Jong Il has suddenly been elevated to being an independent Great Leader, a status that he was

him into an endless depression. The plot follows the journey and the devastating consequences of a psychosis generated by post-traumatic shock caused by the war which the Spartan king survived… Without a doubt, the Italian’s writing method slightly touches the unconventional. Right after the list of characters, before the Prologue, the playwright himself carefully places a stage direction which can be seen as a statement, stating the fact that the acronyms and the temporal incongruities must be considered what they are...nothing! The concept of time does not

Summary

Chandeliers with serpent arms held at the National Museum of Lithuania and the Lithuanian Art Museum are among the earliest found in Lithuania. Previous efforts to find chandeliers of similar décor in Latvia or Poland while collecting material on lighting fixtures in Lithuania and the neighbouring countries were unsuccessful. Due to that reason, it was thought that the spread of these chandeliers of extraordinary décor was limited to the territory of Lithuania. A closer and more thorough look into collections of Western European museums has revealed that the motif of an elegantly coiled snake on chandelier arms should be related to Hans Rogiers, a founder who worked in Amsterdam in 1598–1638.

In the article, the origin of chandeliers with serpent arms in Western Europe and the ways they could have possibly reached Lithuania are traced back for the first time. Specimens that survived or did not survive in Lithuania, their development and problems of dating are analysed. Their functioning space is explored and the subject of their symbolism is addressed. The article aims to present and evaluate the surviving chandeliers with serpent arms in Lithuania. In the research, instruments of formal, comparative, iconographic, and reconstructive analysis were used.

Abstract

Theatre as living art, the central purpose of which is life, existence, that is, that can perceive matter as a set of images, a meeting point of the spirit with matter, enters the realm of memory, when it requires precise indications necessary for the scenic representation. Memory is a living organism, it is the warm fire of preparing theatre. We perceive Hamlet acting on stage because we remember that perception. Hamlet – the one that we will see in a few years, in a completely different time, in another geography, will be perceived, criticized, understood, by evoking the memories that have survived or have been adapted, transformed, reinterpreted. The memory facilitates the meeting between the actor and the character, the memory facilitates the meeting between the director and the text, between the director and the concept, the memory brings the playwright face to face with his work. In the The Misunderstanding, Albert Camus imagines psychological dimensions where memory plays the role of central mechanism. We are face to face with the absurd man, who through the awareness of death and crime meets his truth, but at the same time we discover a dissociation of the characters that, despite their rigidity and coldness, maintain the appearance of a structural and functional fluidity. The dialogue has the resonance of a frequency that vibrates from the river of collective memory. The individual memory has split and is to be absorbed by another memory, one of the theatre, a universal memory, a memory of a theatre that was born from memory.

Abstract

Art movements don’t end up at a precise moment, but they can survive over the decades in different ways, even if they could be considered out of date. Today, we live in the post-human or the post-digitalized era, but here and now we also recognize marks or processes derived from the art of the ‘80s. What are postmodernism’s shadows that have been shaping recent years’ performances and how does Romanian theatre directing look like, seen against the bigger drama background in or within our European continent – those are the two main questions to which our study tries to find potential answers. Given that we don’t want to lose ourselves into various theatre productions, we have chosen to verify this with an ageless play – Hamlet. How do they (still) look like and what do they hide again, the new profiles of the prince who speaks to us about the death of sleep’s dreams – those are the questions depicted from the hyper-technological identities of Hamlet ex machina.

Abstract

The individual’s alienation, the dehumanizing relationship with the technological advancement, the communication crisis and the entire theoretical field targeting the current collective psychosis are now moving into a pragmatism which is brutal, cruel, and immediate. The pandemic concerns all of us at the same extent, each of us is directly affected; the enemy is reproducing itself and is felt physically, therefore consciously, on a global scale. It is a lesson about another way of “being”, we are challenged to survive to ourselves according to the principle which is so well-rooted in the world of the theatre: “play this, is you can!” But, “this time of isolation” gives something to us as well, not only does it take something from us. It is a good time for reflection. The vulnerability of the human being proves to be, at this point, above all, the sole meaning of the search. Deprived of its primordial element, the gathering, it requires a return to the sacred nature of the beginning. The contextual reassessment must begin from the actor. The indefinite suspension of the humankind’s right to social interaction is transformed, therefore, from a sign of clinical death of the theatre, into a thorough working formula. We are not launching this hypothesis with the intention of establishing postulates, but we are rather trying to make an anticipative exercise on the edge of a hole, which if ignored, can turn into an abyss.

Literature. Journal of American Culture 18(1): 35–40. DOI: 10.1111/j.1542-734X.1995.1801_35.x (Accessed on: 17 September 2017). Hirsch, Marianne. (2001). Surviving Images: Holocaust Photographs and the Work of Postmemory. The Yale Journal of Criticism 14(1): 5–37. DOI: 10.1353/yale.2001.0008 (Accessed on: 17 September 2017). Hirsch, Marianne. (2011). Mourning and Postmemory. In: Michael A. Chaney (ed.), Graphic Subjects. Critical Essays on Autobiography and Graphic Novels (Wisconsin Studies in Autobiography). Wisconsin–London: The University of Wisconsin Press, 17

. Available at: http://www.isle-ofman.com/manxnotebook/history/manks/script.htm (accessed 27 June 2017). Woolard, Kathryn A. and Bambi B. Schieffelin. 1994. Language Ideology. Annual Review of Anthropology (23). 55-82. Zuckermann, Ghil‘ad and Michael Walsh. 2011. Stop, Revive, Survive: Lessons from the Hebrew Revival Applicable to the Reclamation, Maintenance and Empowerment of Aboriginal Languages and Cultures. Australian Journal of Linguistics (31). 111-127.

evaluated the characteristics and composition of the company's resources that form a business model, so that it can produce an excellent performance to survive in the industry. Pharmaceutical companies are no exception. Investment in the form of research and equipment is one of the main supporting factors in the pharmaceutical business. In this study, researchers want to test which resources have the most dominant influence on the performance of companies in the pharmaceutical industry. The variables studied were investment, raw materials, advertising, training, and