Conflicts of Interest in Financial Distress: the Role of Employees
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108 Kansas History “Facing This Vast Hardness”: the Plains Landscape and the People Shaped by It in Recent Kansas/Plains Film
Premiere of Dark Command, Lawrence, 1940. Courtesy of the Douglas County Historical Society, Watkins Museum of History, Lawrence, Kansas. Kansas History: A Journal of the Central Plains 38 (Summer 2015): 108–135 108 Kansas History “Facing This Vast Hardness”: The Plains Landscape and the People Shaped by It in Recent Kansas/Plains Film edited and introduced by Thomas Prasch ut the great fact was the land itself which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy’s mouth had become so “ bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness” (Willa Cather, O Pioneers! [1913], p. 15): so the young boy Emil, looking out at twilight from the wagon that bears him backB to his homestead, sees the prairie landscape with which his family, like all the pioneers scattered in its vastness, must grapple. And in that contest between humanity and land, the land often triumphed, driving would-be settlers off, or into madness. Indeed, madness haunts the pages of Cather’s tale, from the quirks of “Crazy Ivar” to the insanity that leads Frank Shabata down the road to murder and prison. “Prairie madness”: the idea haunts the literature and memoirs of the early Great Plains settlers, returns with a vengeance during the Dust Bowl 1930s, and surfaces with striking regularity even in recent writing of and about the plains. -
"Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
"Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period. -
Strindberg on International Stages/ Strindberg in Translation
Strindberg on International Stages/ Strindberg in Translation Strindberg on International Stages/ Strindberg in Translation Edited by Roland Lysell Strindberg on International Stages/Strindberg in Translation, Edited by Roland Lysell This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Roland Lysell and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5440-9, ISBN (13): 978-1-4438-5440-5 CONTENTS Contributors ............................................................................................... vii Introduction ................................................................................................. 1 Section I The Theatrical Ideas of August Strindberg Reflected in His Plays ........... 11 Katerina Petrovska–Kuzmanova Stockholm University Strindberg Corpus: Content and Possibilities ........ 21 Kristina Nilsson Björkenstam, Sofia Gustafsson-Vapková and Mats Wirén The Legacy of Strindberg Translations: Le Plaidoyer d'un fou as a Case in Point ....................................................................................... 41 Alexander Künzli and Gunnel Engwall Metatheatrical -
'I'm a Devilish Fellow Who Can Do Many Tricks'
FACTS ABOUT SWEDEN | AUGUST STRINDBERG sweden.se P P H H O O T T O: O: S N T ORDI RIND S B K ER A MU GS MU S EE S T EE T August Strindberg: self-portrait from Gersau, Switzerland, 1886. Jealousy Night, painted by Strindberg in Berlin, Germany, 1893. AUGUST STRINDBERG: ‘I’M A DEVILISH FELLOW WHO CAN DO MANY TRICKS’ A hundred years after his death, August Strindberg (1849–1912) continues to fascinate. He was a trailblazer and innovator in his time and still manages to provoke audiences in theaters around the world. There is always an aspect of Strindberg’s everyday language, and today his texts led. His literary development largely fol- character – from the raging sociopoliti- feel remarkably modern. lowed the twists and turns of his private cal polemicist to the psychologically life, including the crises arising from his introspective writer – that fits the prevail- Man of many talents marriage break-ups and political contro- ing spirit and intellectual climate of the People are amazed by Strindberg’s ver- versies. times. His thoughts on morality, class, satility. He tackled most genres. Aside power structures and familial politics from being an innovator in drama and Upbringing and studies are still relevant today. The unflagging prose, he was a poet, a painter, a pho- Johan August Strindberg was born on struggle for free thinking and free speech tographer, even a sinologist. 22 January 1849. He would later claim that he waged throughout his life is more Strindberg’s stormy private life also that his childhood was one of poverty important than ever in a time when cen- explains his enduring appeal, especially and neglect but the family was not poor. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. -
From Daraa to Damascus: Regional and Temporal Protest Variation in Syria
From Daraa to Damascus: Regional and Temporal Protest Variation in Syria by Shena L. Cavallo B.A. International Relations and Spanish, Duquesne University, 2007 Submitted to the Graduate Faculty of The Graduate School of Public and International Affairs in partial fulfillment of the requirements for the degree of M.A International Development University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH Graduate School of Public and International Affairs This thesis was presented by Shena L. Cavallo It was defended on May 23, 2012 and approved by M. Müge Kokten-Finkel, PhD, Assistant Professor Ilia Murtazashvili, PhD, Assistant Professor Paul J. Nelson, PhD, Associate Professor Thesis Director: Luke N. Condra, PhD, Assistant Professor ii Copyright © by Shena L. Cavallo 2012 iii From Daraa to Damascus: Regional and Temporal Protest Variation in Syria Shena Cavallo, MID University of Pittsburgh, 2012 When protest erupted in Syria on March 2011, there was considerable analysis seeking to explain the initial display of collective action. While this initial showing of dissent caught some off-guard, what was more remarkable is how the protest movement managed to endure, well over a year, despite policies of severe repression, a lack of established opposition organizations, and a lack of regime defections. This paper seeks to explore which factors have sustained the protest movement, as well as the role of these factors at different stages in the ‘protest wave’ and the relationship these variables share with region- specific waves of protest. I hypothesize that more traditional approaches to understanding protest longevity must be expanded in order to help explain contemporary events of protest, particularly in authoritarian contexts. -
Resurrection Libretto FIN.Indd
HANDEL The Resurrection Production Underwriter Vivian Elizabeth Pilar LIBRETTO & TRANSLATIONS 1 HANDEL The Resurrection Part 1, Scene 1 The Angel demands admittance at the gates of Hell and declares that Christ, though he has died, will now conquer Death, Guilt and Misery (Morte, Colpa, Pena). Lucifer summons the powers of Hell to oppose him. ANGELO ANGEL Disserratevi, o porte d’Averno, Be unbarred, ye gates of Avernus, E al bel lume d’un Nume ch’è eterno and let your dismal darkness be dispelled Tutto in lampi si sciolga l’orror! by the radiance of the eternal God! Cedete, orride porte, Yield, dread gates, Cedete al Re di Gloria, yield to the King of Glory, Che della sua vittoria for yours is the first submission Voi siete il primo onor! to His victorious might! Disserratevi, etc. Be unbarred, etc. LUCIFERO LUCIFER Qual’ insolita luce What unexpected light Squarcia le bende alla tartarea notte? rends the bonds of Tartarean night? Qual’ eco non più udita What sounds unheard before Con armonia gradita echo harmoniously Fa intorno risonar le stigie grotte? throughout the Stygian caves? Se son del mio valore If they are acclamations Gli applausi, giusti sono! of my valour, they are fitting! Oggi, che vincitore, For today as victor, Cittadini d’Abisso, a voi ritorno; citizens of the Abyss, I return to you, E già mi vendicai con fiero sdegno having avenged myself with proud disdain Di chi perder mi fé de’ cieli il Regno! upon the one who cast me out of Heaven! LUCIFERO LUCIFER Caddi, è ver, ma nel cadere I fell, ‘tis true, but in falling Non perdei forza né ardire. -
Press Release
MEDIA CONTACT: Aaron Willis [email protected] (416) 938-7886 Hot off the heels of its sold-out run at the Toronto Fringe Festival… 3 short plays The Stronger a monologue by August Strindberg, in a new version by Julie Tepperman Play by Samuel Beckett What Doesn’t Kill You… a new monologue by Julie Tepperman 3 affairs. 3 unexpected locations. 1 unending nightmare. Limited Engagement! October 13 – 23, 2016 every night @ 7:00pm and 9:15pm (no show Tuesday October 18) Directed by Aaron Willis Featuring: Mayko Nguyen, Julie Tepperman & Andy Trithardt with Sheila Ingabire-Isaro L-R - Julie Tepperman, Andy Trithardt, Sheila Ingabire-Isaro & Mayko Nguyen (Photo - Neil Silcox) Set & Lights: Nick Blais Costume Design: Michelle Tracey Sound Design: Andy Trithardt Aunties & Uncles Restaurant (upstairs) (74 Lippincott Avenue - one block east of Bathurst, just north off of College) + 2 secret locations From the creators of the Fringe hits AUTOSHOW and THE GLADSTONE VARIATIONS Convergence Theatre ~ twice voted by NOW Magazine readers as “The Best Site-Specific Theatre Company in Toronto”! 1 TICKETS ON SALE NOW! $30-$35 (does not include service fees and HST) http://theunending.brownpapertickets.com/ October 13 – 23, 2016 every night @ 7:00pm and 9:15pm (no show Tuesday October 18) L-R - Julie Tepperman, Andy Trithardt & Mayko Nguyen (Photo - Neil Silcox) Julie Tepperman yanks August Strindberg’s monologue The Stronger out of the 1880s and into the 1960s, where a Wife (Julie) confronts her Husband’s Mistress (Mayko Nguyen) at a café. The Mistress’ silence causes the Wife to spiral into a state of mental anguish…setting us up nicely for the head-trip that is Samuel Beckett’s Play. -
NOTES on SETTLEMENT HISTORIES of GBELAY-GEH STATUTORY DISTRICT, NIMBA COUNTY, LIBERIA
NOTES ON SETTLEMENT HISTORIES OF GBELAY-GEH STATUTORY DISTRICT, NIMBA COUNTY, LIBERIA [Maarten Bedert in collaboration with Freeman B. Bartuah] HALLE (SAALE) 2017 MAX PLANCK INSTITUTE FOR SOCIAL ANTHROPOLOGY DEPartment ‘IntegraTION AND CONFLICt’ FIELD NOTES AND RESEARCH PROJECTS XVII MAX PLANCK INSTITUTE FOR SOCIAL ANTHROPOLOGY DEPARTMent ‘IntegraTION AND CONFLICT’ FIELD NOTES AND RESEARCH PROJECTS XVII Notes on Settlement Histories of Gbelay-Geh Statutory District, Nimba County, Liberia Published by Max Planck Institute for Social Anthropology, Halle (Saale) P. O. Box 11 03 51 D - 06017 Halle /Saale (Germany) 9270 2׀0345׀Phone 49 http://www.eth.mpg.de ISSN 2193-987X Author: Maarten Bedert (in collaboration with Freeman B. Bartuah) Assisted by: Viktoria Zeng and Robert Dobslaw Cover Photo: Window view, Karnplay (Liberia), 2012 © Martine Noordemeer Printed 2017 by Max Planck Institute for Social Anthropology, Halle (Saale) © 2017 Max Planck Institute for Social Anthropology TABLE OF CONTENTS Series Editor’s Preface ................................................................................ iv Introduction .................................................................................................. v PArt 1: GBELAY CHIEFDOM 1. Karnplay ................................................................................................... 1 2. Peelar ........................................................................................................ 6 3. Loelay .................................................................................................... -
Gambling in the Golden State 1998 Forward
Gambling in the Golden State 1998 Forward By Charlene Wear Simmons, Ph.D. Assistant Director ISBN 1-58703-137-X Table of Contents EXECUTIVE SUMMARY .............................................................................................. 1 A FAST GROWING AND PROFITABLE INDUSTRY ........................................................... 1 STATE REGULATION....................................................................................................... 2 ECONOMIC BENEFITS AND SOCIAL COSTS .................................................................... 2 Problem and Pathological Gambling ........................................................................ 3 Crime .......................................................................................................................... 5 Public Revenues ......................................................................................................... 6 AN EVOLVING INDUSTRY ............................................................................................... 6 BACKGROUND................................................................................................................. 7 PARTICIPATION IN GAMBLING ACTIVITIES .................................................................. 9 WHO GAMBLES? .......................................................................................................... 11 REGULATION ................................................................................................................ 13 Electronic Technology -
HUGO WEISGALL the STRONGER, Opera in One Act (1952) with Johanna Meier, Soprano
HUGO WEISGALL THE STRONGER, opera in one act (1952) with Johanna Meier, soprano FANCIES AND INVENTIONS for baritone and five instruments (1970) with Julian Patrick The Aeolian Chamber Players conducted by The Composer THE STRONGER was written in the late spring and summer of 1952 expressly for the Hilltop Opera Company of Baltimore, a small, professional cooperative group which I had helped organize and directed for a number of seasons. From the first I regarded this piece as an experiment, a ,kind of operatic exercise. My primary task was to find ways to translate Strindberg's psychological monodrama, with its rapid, constantly changing moods and its almost total lack of sustained moments, into musical terms. The chief problem was that the music had to function alternately as background and foreground—at times pure atmosphere, then shifting between characterizing the protagonist, Estelle, and picturing the physical movements of the wordless Lisa. Also I sought somehow to balance the two roles more equally. Rather than conform to the traditional theatrical interpretation in which "the star" plays the silent role and comes out on top, I tried to leave open the question as to which of the two women is really "the stronger". Finally, because of our limited production resources (and not without Schoenberg's highly complex Erwartung in mind as a model not to be followed) I tried to achieve my objectives as simply and economically as possible. Hence the small physical set up—an orchestra of eight (although with considerable doubling in the woods), and the deliberate use of very limited and highly stylized musical material. -
Playss2strind00striuoft.Pdf
I I PLAYS BY AUGUST STRINDBERG SECOND SERIES PLAYS BY AUGUST STRINDBERG PLAYS. FIRST SERIES : The Dream Play, The Link, The Dance of Death—Part I and Part II. PLAYS. SECOND SERIES: There are Crimea and Crimes, Miss Julia, The Stronger, Credi- tors, Pariah. PLAYS. THIRD SERIES : Swanwhite, Simoom, Debit and Credit, Advent, The Thunder Storm, After the Fire. PLAYS. FOURTH SERIES : The Bridal Crown, The Spook Sonata, The First Warning, Gus- tavus Vasa. PLAYS. FIFTH SERIES: In preparation. CREDITORS. PARIAH. MISS JULIA. THE STRONGER. THERE ARE CRIMES AND CRIMES. CHARLES SCRIBNER'S SONS wea. Eb PLAYS BY AUGUST STRINDBERG SECOND SERIES THERE ARE CRIMES AND CRIMES MISS JULIA THE STRONGER CREDITORS PARIAH TRANSLATED WITH INTRODUCTIONS BY EDWIN BJORKMAN AUTHORIZED EDITION NEW YORK CHARLES SCRIBNER'S SONS 1926 COPYRIGHT, 1913, BY CHARLES SCRIBNER'S SONS Printed in the United States of America Published February, 1913 CONTENTS PAGE Introduction to "There Are Crimes and Crimes" . 3 There Are Crimes and Crimes 9 ft Introduction to Miss Julia" 89 Author's Preface 96 Miss Julia 113 " Introduction to The Stronger" 167 The Stronger 169 Introduction to "Creditors" 179 Creditors 183 Introduction to "Pariah" ........ 241 Pariah £45 THERE ARE CRIMES AND CRIMES INTRODUCTION Strindberg was fifty years old when he wrote "There Are Crimes and Crimes." In the same year, 1899, he pro- duced three of his finest historical dramas: "The Saga of the Folkungs," "Gustavus Vasa," and "Eric XIV." Just before, he had finished "Advent," which he described as **A Mystery," and which was published together with "There Are Crimes and Crimes" under the common title of "In a Higher Court." Back of these dramas lay his strange confessional works, "Inferno" and "Legends," and the first two parts of his autobiographical dream-play, "Toward Damascus"—all of which were finished between May, 1897, and some time in the latter part of 1898.