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2015 SMPHI Annual Report
SUSTAINING GROWTH, DELIVERING VALUE 10th Floor, OneE-com Center Harbor Drive, Mall of Asia Complex Pasay City 1300, Philippines Email: [email protected] www.sminvestments.com 2 IFC Our Business Philosophy 2 Business Highlights & Impact 6 Financial Highlights 7 Shareholder Value SM INVESTMENTS CORPORATION SM INVESTMENTS OUR BUSINESS PHILOSOPHY 8 Ten-Year Performance Overview 10 Our Business Footprint 12 Message to Shareholders SM Investments Corporation is the Philippines’ largest 14 President’s Report publicly-listed holding company that holds a group of sustainable businesses in retail, property and financial services. The Group thrives on leadership, innovation 18 RETAIL OPERATIONS and highly synergistic operations. • THE SM STORE Our Vision is to build world-class businesses that are • SM Markets catalysts for development in the communities we serve. Our long history of sustained growth is an indication of our ability to deliver value for all our stakeholders through sound financial management, leadership, innovation, long-term sustainability efforts and a comprehensive development program for all our host communities. Through our interests and activities, Our Mission is to strive to be a good corporate citizen by partnering with our host communities in providing consistently high standards of service to our customers, look after the welfare of our employees, and deliver sustainable returns to our shareholders at all times, upholding the highest standards of corporate governance in all our businesses. 28 PROPERTY Over the years, we have been committed to sustaining • Malls our growth, in creating value and delivering quality • Residences products and services that our millions of customers aspire for. We are here to serve. -
A Director's Approach to Ingmar Bergman's Nora Cason Warinner
ABSTRACT Opening the Door: A Director’s Approach to Ingmar Bergman’s Nora Cason Warinner Murphy, M.F.A. Thesis Chairperson: Marion D. Castleberry, Ph.D. In 1981, Swedish filmmaker Ingmar Bergman radically adapted Henrik Ibsen’s classic stageplay A Doll’s House in order to create his own theatrical work, Nora. Through cutting much of Ibsen’s text and many of his characters, Bergman focused his adaptation on the figure of Nora Helmer, a naïve 19th-century wife and mother desperately trying to avoid the consequences of her past actions. This thesis examines the process undertaken in bringing Bergman’s play to its November 2015 performance run at Baylor University, with explorations of playwright and playscript histories, of directorial analysis and production concepts, and the creative collaborations established between director, designers, and actors. Opening the Door: A Director's Approach to Ingmar Bergman's Nora by Cason Warinner Murphy, B.A. A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee Marion D. Castleberry, Ph.D., Chairperson DeAnna M. Toten Beard, M.F.A., Ph.D. Stan C. Denman, Ph.D. David J. Jortner, Ph.D. James Kendrick, Ph.D. Accepted by the Graduate School May 2016 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2016 by Cason Warinner Murphy All rights reserved TABLE -
Strindberg Acrossborders Low.Pdf
Strindberg across Borders edited by Massimo Ciaravolo © 2016 Copyright Istituto Italiano Studi Germanici Via Calandrelli, 25 – 00153 Roma The volume has been published with the contribution of The King Gustaf VI Adolf Foundation for Swedish Culture (Stiftelsen Konung Gustaf VI Adolfs fond för svensk kultur) and the patronage of: Associazione Culturale di Scandinavistica Milano Firenze ISBN: 978-88-95868-20-2 Strindberg across Borders edited by Massimo Ciaravolo Table of Contents 5 Acknowledgements 7 Massimo Ciaravolo, Introduction WORLD LITERATURE 15 Vera Gancheva, August Strindberg – The Phoenix 31 Ann-Charlotte Gavel Adams, Constructing Strindberg’s Life across Borders and Times TRANSLATION 41 Elisabeth Tegelberg, En Strindbergessä i kontrastiv belysning 63 Alexander Künzli and Gunnel Engwall, Strindberg and Transna tionality: The Case of Le Plaidoyer d’un fou GENDER, POLITICS AND SCIENCE 83 Tobias Dahlkvist, Strindberg som vansinnigt geni. Strindberg, Lom broso och frågan om geniets patologi 93 Massimo Ciaravolo, Between Literature and Politics. Strindberg and Scandinavian Radicalism as Seen through his Relationship with Edvard Brandes, Branting and Bjørnson 125 Cecilia Carlander, Strindberg och det androgyna O UTWARD AND INWARD, LOWER AND UPPER REALITY 139 Annie Bourguignon, Var går gränsen mellan jaget och makterna? 151 Deimantė Dementavičiūtė-Stankuvienė, Across Dream: Archety pical Images in Strindberg’s Dream Plays 163 Polina Lisovskaya, Christmas Eve in Strindberg’s Oeuvre 4 Table of Contents 179 Astrid Regnell, Konstens verklighet i En blå bok FORMS OF INTERTEXTUALITY 191 Maria Cristina Lombardi, Grotti and Loki: Two Mythological Be ings in Strindberg’s Literary Production 207 Andreas Wahlberg, Början i moll och finalen i dur. Om överträdan det av den osynliga gränsen i Strindbergs Ensam och Goethes Faust 219 Roland Lysell, Stora landsvägen som summering och metadrama 231 Martin Hellström, Strindberg for Children. -
LIR.Skrifter
LIR.skrifter Yvonne Leffler, Åsa Arping, Jenny Bergenmar, Gunilla Hermansson & Birgitta Johansson Lindh SwediSh women’S writing on export Tracing Transnational Reception in the Nineteenth Century LIR.skrifter.10 Yvonne Leffler (volume editor), Åsa Arping, Jenny Bergenmar, Gunilla Hermansson & Birgitta Johansson Lindh Swedish Women’s Writing on Export: Tracing Transnational Reception in the Nineteenth Century LIR.skrifter.10 © LIR skrifter & författarna 2019 Form: Richard Lindmark Tryck: BrandFactory AB, Kållered 2019 iSbn: 978-91-88348-96-8 ContentS ACknowledgementS 7 ContributorS 9 INTRODUCTION 11 Swedish Women’s Writing on Export. Tracing Transnational Reception in the Nineteenth Century Conceptualising Circulation 13, World Literatures, Canon, and Gender 16, Trans - lation and Other Reception Events 19, Methodological Challenges 21, Outline 24 Gunilla Hermansson JuliA nyberg / euphroSyne 33 Romantic Poetry, World Literature, and Superficial Reception Entering the Swedish Canon 34, Poetry and Transcultural Reception 36, Translations, and the Lack Thereof 41, Translation, Nationalism, and Gender Stereotypes 47, Secondary and Superficial Reception 52, Gender, Nationality, and Poetry Reception Patterns 59, Poetry, World Literature, and the Potential of Distant Reading 63, Nyberg, World Literature, and the Art of Forgetting 67, Biography: Julia Nyberg 70 Åsa Arping “the miss AuSten of Sweden” 97 Fredrika Bremer’s Transatlantic Triumph in the Age of Reprint The European Dissemination 99, The Launching and Reception in the United States 103, -
Self-Translation and Transnational Strategy: the Case of Strindberg's French
Scandinavica Vol 54 No 2 2015 Self-Translation and Transnational Strategy: The Case of Strindberg’s French Poem Battant les rues toute la journée… Massimo Ciaravolo Università degli Studi di Firenze Abstract Between autumn 1883 and the first days of 1884 August Strindberg, at the beginning of his first long stay abroad (1883-89), wrote the long poem Sömngångarnätter på vakna dagar (Sleepwalking Nights in Broad Daylight), published in 1884. The poem is based on a structural interaction between ‘real’ French and Parisian spaces, where the protagonist and narrator is located at present, and ‘imagined’ Stockholm places loaded with memories, controversies and nostalgia. Later in 1884 the writer would also publish his first texts directly written in French, with the intention of establishing himself as a European, transnational writer, thus gaining symbolic capital he could use in the Nordic and Swedish literary field. My article focuses on a hitherto unpublished fragment of a poem written in French by Strindberg, proposes a diplomatic transcription of it, and considers it within the above-mentioned context. Through a comparison with the Swedish text, the French fragment is assessed as a self-translation of the beginning of the third sequence of Sömngångarnätter på vakna dagar, and it is seen as a part of Strindberg’s wider transnational project through French, which involved three different strategies in the years to come: writing original works directly in French; having Swedish original works translated by others; and – as in the case discussed in this article – providing self-translations. Keywords August Strindberg, Sömngångarnätter på vakna dagar, self-translation, translational rewriting, transnational literature, Paris, modernity 40 Scandinavica Vol 54 No 2 2015 1. -
For Nórthern Performing Arts Studies D
Yearlv Review of the Centre for Nórthern Performing Arts Studies University of Turin n. 6 I zoog Strindberg: Drama and Theatre Università degti Studi di Torino Dipartimento di Disciptine Artistiche, Musicali e detlo Spettacolo d# e edraonrdi pag na Contents Eszter Szalczer Svoboda Meets Strindberg in Albany: Jarka Burian's Drearn PlayProduction 12I $anda Tomescu tsaciu On the Reception of August Strindberg's Drama in the Romanian Theare I43 Massimo Ciaravolo The Voice and Position of the Lower Ciass in Strindberg's Swedish Historical Plays I5L MATERIAUi Annelis Kuhlrnann Lars Norén's mise eru scène of Kaj Munk's TheWord as a Modern Miracle Play atThe Royal Theatre in Copenhagen (2008) 181 Massimo Ciarauolo" The Volee and Position of the Lower elass !n Strindberg's Swedish Flistorical Plays' In the early Eighteen Eighties Srindberg experimented with a neu/u/ay of writ- ing Swedish history: history was to be seen from the point of view of the com- mon people, and everyday life in various social environments, íncluding theír material culture, was to be described. What he put forward in prose works such as Gamla Stockholm (Old Stockholm, 1880-82)2, Suenska Folket (The Suedish People, 1881-82)e and Suenska óden och riuentyr (Suedish Destinies and Aduentures, IBB2-83; L8B3-L905)a was a deliberate and provocative change of perspective compared to the prevailing conservative discourse, ac- cording to which the history of the country coÍresponded to that of its mon- archss. Contradicting that fiction ín a so-called cultural history was part of Strindberg's realistic breakthrough; íf rcaI Swedish life had taken place only to t' University of Florence. -
The Conradie Codec
THE CONRADIE CODEC: THE RECODING OF MEANING IN FOUR OF MY STAGE ADAPTATIONS by Wilhelm Conradie Thesis presented in partial fulfilment of the requirements for the degree Master of Drama (Directing) at Stellenbosch University Supervisor: Prof. Edwin Hees March 2015 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that the reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Signed: Wilhelm Conradie Date: March 2015 Copyright © 2015 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za Table of contents DECLARATION 1 ACKNOWLEDGMENTS 3 ABSTRACT 4 OPSOMMING 6 CHAPTER ONE: INTRODUCTION 8 CHAPTER TWO: CASE STUDY ONE – TWINTIG AKTEURS OP SOEK NA ’N [BETER] REGISSEUR 35 CHAPTER THREE: CASE STUDY TWO – ONSINDROOM 58 CHAPTER FOUR: CASE STUDY THREE – iFOREST 79 CHAPTER FIVE: CASE STUDY FOUR – WHEN IN LOVE… 99 CHAPTER SIX: CONCLUSION 118 BIBLIOGRAPHY 121 2 Stellenbosch University https://scholar.sun.ac.za ACKNOWLEDGEMENTS I would like to express my sincerest appreciation to the following people for their commitment, guidance, encouragement and support: My wife and favourite person in this world, Uné, for supporting me when I decided to give up – and supporting me when I decided to push through; Prof. Edwin Hees for constantly reminding me that it is best to keep writing and for making this process an enjoyable one; Prof. -
Till My Change Come Nature, Justice, and Redemption in Åsa Larsson’S Until Thy Wrath Be Past
Till My Change Come Nature, Justice, and Redemption in Åsa Larsson’s Until Thy Wrath Be Past JOHN LINGARD ABSTRACT: Åsa Larsson’s Till dess din vrede upphör (2009) [Until Thy Wrath Be Past 2011] is the fourth of five Rebecka Martinsson mysteries. Larsson enhances the genre with an exceptionally vivid depiction of the Swedish Arctic. All the characters are affected by the forbidding landscape of forests, frozen lakes, and mountains. The harshness of nature in this region leads some to violence and death; others to self-understanding and redemption. The novel’s most striking feature is, however, a remarkably successful introduction of the supernatural into the story. The first narrator is the spirit of a murder victim, who hovers above the other characters, influencing their actions and thoughts. Freed from the constraints of time and place, she is able to travel back as far as World War II and witness the dark collaborationist underworld of a so-called neutral Sweden. With her skilful interweaving of mystery, nature, and the supernatural, Larsson has created a powerful and moving addition to Nordic crime fiction. RÉSUMÉ: Till dess din vrede upphör d’Åsa Larsson (2009) [Jusqu’à ce que ton ire soit passée, publié en anglais en 2011] est le quatrième de cinq mystères de Rebecka Martinsson. Larsson améliore le genre par une représentation exceptionnellement vive de l’Arctique suédois. Tous les personnages sont affectés par le paysage inhospitalier de forêts, de lacs gelés et de montagnes. L’aridité de la nature dans cette région mène certains à la violence et à la mort; d’autres à la compréhension de soi et à la rédemption. -
13/04/2015 Report – SEC 17-A (2014 Annual Report)
PSE Security CodeCN-075 cn-075 COVER SHEET C S 5 8 6 4 8 S.E.C. Registration Number M E L C O C R O W N ( P H I L I P P I N E S ) R E S O R T S C O R P O R A T I O N A S E A N A B O U L E V A R D C O R . R O X A S B O U L E V A R D , B R G Y . T A M B O , P A R A Ñ A Q U E , C I T Y 1 7 0 1 ( Business Address : No. Street City / Town / Province ) MARISSA T. ACADEMIA 866-9888 Contact Person Company Telephone Number SEC Form 17-A 1 2 3 1 0 5 1 9 Month Day FORM TYPE Month Day Fiscal Year Annual Meeting Secondary License Type, If Applicable N. A. Dept. Requiring this Doc. Amended Articles Number/Section Total Amount of Borrowings Total No. of Stockholders Domestic Foreign To be accomplished by SEC Personnel concerned File Number LCU Document I.D. Cashier S T A M P S Remarks = pls. use black ink for scanning purposes SECURITIES AND EXCHANGE COMMISSION SEC FORM 17-A 1. For the fiscal year ended December 31 , 2014 2. SEC Identification Number 58648 3. BIR Tax Identification No. 000-410-840-000 4. Exact name of issuer as specified in its charter Melco Crown (Philippines) Resorts Corporation 5. Province, Country or other jurisdiction of incorporation or organization Philippines 6. -
Alf Sjöberg's Film Fröken Julie : Too Much Cinema, Too Much Theater?
Alf Sjöberg's Film Fröken Julie : too much Cinema, too much Theater? Autor(en): Steene, Birgitta Objekttyp: Article Zeitschrift: Beiträge zur nordischen Philologie Band (Jahr): 11 (1981) PDF erstellt am: 30.09.2021 Persistenter Link: http://doi.org/10.5169/seals-858393 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch 179 BIRGITTA STEENE Alf Sjöberg's Film Fröken Julie: Too much Cinema, too much Theater? Alf Sjöberg's screen version of Strindberg's Fröken Julie is a landmark in the post-war Swedish cinema and practically the only Swedish feature length film from that time to reach a wide international audience. -
Stormy Weather: the Pre- and Post- History of Television
International Journal of Communication 10(2016), 5304–5323 1932–8036/20160005 Stormy Weather: The Pre- and Post- History of Television STAFFAN ERICSON Södertörn University, Sweden This article examines Ingmar Bergman’s first (and only) television adaptations of dramatist August Strindberg: The Storm (1960) and A Dream Play (1963). Both were broadcast live and favorably received by contemporary critics. A recurrent reaction was that television finally “did justice” to these plays from the early 20th century; implying, as did Raymond Williams in his 1974 book on television, that Strindberg’s later drama somehow “anticipated” television. This claim is explored in relation to various thematic and formal expressions of temporality in both plays (motifs of enclosed spaces, telephones, clouds, and faces and the dialectics of progress and repetition) and the specificities of television (the “management of liveness,” “mobile privatization,” monitoring, etc.). The type of historicity involved in the claim that art may anticipate oncoming media technology is related to Walter Benjamin’s notion of pre- and post- history. Keywords: television, liveness, historicity, drama, Ingmar Bergman, August Strindberg Ingmar Bergman claims to have bought the first TV set he saw, in a shopwindow in the mid- 1950s. To readers of the Swedish weekly TV and radio guide, Bergman (1958) declared his love for the early live broadcasts, quiz shows as well as theater: “I find everything to be wonderful and would love to be a part of this game” (p. 22). By then, he had already debuted as a TV director: In April 1957, only months after regular Swedish broadcasting had begun, Bergman’s adaption of Hjalmar Bergman’s one-act play Herr Sleeman Is Coming was transmitted. -
Plays by August Strindberg
PLAYS BY AUGUST STRINDBERG ' FIRST SERIES • TBANSLATEDBT EDWIN BJORKMAN The Dream Play The Link TheDaneeofDeath,PartI The Dance ofDeath, Part IF ))n THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA RIVERSIDE PLAYS BY AUGUST STRINDBERG PLAYS BY AUGUST STRINDBERG Published BY CHARLES SCRIBNER'S SONS CREDITORS. PARIAH 75 cents net ; postage extra MISS JULIA. THE STRONGER 75 cents net ; postage extra THERE ARE CRIMES AND CRIMES 75 cents net ; postage extra PLAYS : The Dream Play, The Link, The Dance of Death—Part I and Part II $1.50 net; postage extra ^-VA*t..»^»\.^».^f^ <f.//JL-'^^.x-Jjt*^-**^^ PLAYS BY AUGUST STRINDBERG THE DREAM PLAY THE LINK THE DANCE OF DEATH, Part I THE DANCE OF DEATH, Part II TRANSLATED WITH AN INTRODUCTION BT EDWIN BJORKMAN NEW YORK CHARLES SCRIBNER'S SONS 1912 VTfSlj Copyright, 1912, by CHARLES SCRIBNER'S SONS Published February, 1912 Reprinted May. July and November, 1912 NOTE This translation is authorised by Mr. Strindberg, and he has also approved the selection of the plays included in this volume. 2092014 CONTENTS PAGE Introduction 1 A Chronological List of August Strindberg's Main Works 21 The Dream Play 23 The Link 105 The Dance of Death, Part I 145 The Dance of Death, Part II 217 INTRODUCTION INTRODUCTION To the first volume of his remarkable series of autobiograph- ical novels, August Strindberg gave the name of "The Bond- woman's Son." The allusion was twofold—to his birth and to the position which fate, in his own eyes, seemed to have assigned him both as man and artist. If we pass on to the third part of his