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Ed 397 868 Author Title Institution Pub Date Note
DOCUMENT RESUME ED 397 868 JC 960 462 AUTHOR Ashby, W. Allen; And Others TITLE Issues of Education at Community Colleges: Essays by Fellows in the Mid-Career Fellowship Program at Princeton University. INSTITUTION Princeton Univ., NJ. Mid-Career Fellowship Program. PUB DATE Jun 96 NOTE 174p.; For individual papers, see JC 960 463-471. AVAILABLE FROMThe Center for Faculty Development, Mid-Career Fellowship Program, History Department, 129 Dickinson Hall, Princeton University, Princeton, NJ 08544 ($15). PUB TYPE Collected Works General (020) Viewpoints (Opinion/Position Papers, Essays, etc.)(120) Reports Descriptive (141) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS *College Faculty; *Community Colleges; Cooperative Learning; *Critical Thinking; Culture Conflict; Educational Practices; Educational Principles; Educational Technology; *Faculty College Relationship; Generation Gap; *Interdisciplinary Approach; *Learning Strategies; Team Teaching; Two Year Colleges ABSTRACT This collection presents essays on contemporary issues facing community colleges written by fellows in Princeton University's Mid-Career Fellowship Program and dealing with such issues as critical thinking, faculty perceptions, educational technology, interdisciplinary courses, cooperative learning strategies, the college culture, faculty and administration relations, and team teaching. The following essays are provided:(1) "Questioning Critical Thinking: Funny Faces in a Familiar Mirror," by W. Allen Ashby;(2) "The Image of the Community College: Faculty Perceptions at Mercer County Community College," by Marilyn L. Dietrich;(3) "Community Colleges and the Virtual Community," by Robert Freud; (4) "Interdisciplinary Classes," by Freda Hepner; (5) "Student as Teacher: Cooperative Learning Strategies in the Community College Classroom," by Carol L. Hunter;(6) "Generational Clash in the Academy: Whose Culture Is It Anyway?" by Pat Kalata; (7) "Faculty/Administration Relations in Community Colleges," by Joyce A. -
An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
Piano Recital Prize and Arnold Schoenberg
1 Welcome to Summer 2015 at the RNCM As Summer 2015 approaches, the RNCM Our orchestral concerts are some of our most prepares for one of its most monumental concerts colourful ones, and more fairytales come to life to date. This is an historic moment for the College with Kodaly’s Hary Janos and Bartók’s Miraculous and I am honoured and thrilled to be welcoming Mandarin as well as with an RNCM Family Day, Krzysztof Penderecki to conduct the UK première where we join forces with MMU’s Manchester of his magnificent Seven Gates of Jerusalem Children’s Book Festival to bring together a feast at The Bridgewater Hall in June. This will be of music and stories for all ages with puppetry, the apex of our celebration of Polish music, story-telling, live music and more. RNCM Youth very kindly supported by the Adam Mickiewicz Perform is back on stage with Bernstein’s award- Institute, as part of the Polska Music programme. winning musical On the Town, and our Day of Song brings the world of Cabaret to life. In a merging of soundworlds, we create an ever-changing kaleidoscope of performances, We present music from around the world with presenting one of our broadest programmes to Taiko Meantime Drumming, Taraf de Haïdouks, date. Starting with saxophone legend David Tango Siempre, fado singer Gisela João and Sanborn, and entering the world of progressive singer songwriters Eddi Reader, Thea Gilmore, fusion with Polar Bear, the jazz programme at Benjamin Clementine, Raghu Dixit, Emily Portman the RNCM collaborates once more with Serious and Mariana Sadovska (aka ‘The Ukranian as well as with the Manchester Jazz Festival to Bjork’). -
Major Weather Disasters in Europe
Innovative methods to tackle misconceptions IRENA – October 2013 © 2011 The Climate Reality Project exclusive of public domain content. All rights reserved. About Climate Reality Project • Founded and chaired by Nobel laureate and former Vice President Al Gore, • Dedicated to building a global cultural movement demanding action on the climate crisis • Employs communications tools and a grassroots network of Climate Leaders trained by Chairman Al Gore to highlight the urgency of the climate crisis. • The Climate Reality Project operates 8 offices in over 30 countries Innovative Methods to tackle misconceptions • Leadership Corps • Reality Drop • 24 Hours of Reality • WHAT I LOVE • I AM PRO SNOW The Climate Reality Project Logo Last year’s 24 Hours of Reality: The Dirty Weather Report, generated nearly 17 million views • 6000 trained Climate Leaders • more than 100 countries educating their communities about climate change • Use local media outlets, activate social networks and inspire communities around the globe to confront the climate crisis Climate Change Presentations 2013 Presentations: Over 3000 presentations given in 2013 alone ( 10 a day!) 4000 Acts of Leadership for this year. http://presenters.climaterealityproject.org/presenter_tools/dashboard Reality Drop: Close to 56,000 “drops” within Reality Drop have been made Other Initiatives http://climaterealityproject.org/initiatives Timothy Paul UAE Climate Leader http://climaterealityproject.org [email protected] © 2011 The Climate Reality Project exclusive of public domain content. -
1 BARACK OBAMA, ABRAHAM LINCOLN, and JOHN DEWEY In
File: Schulten web preprint Created on: 1/29/2009 9:52:00 AM Last Printed: 1/31/2009 2:13:00 PM BARACK OBAMA, ABRAHAM LINCOLN, AND JOHN DEWEY SUSAN SCHULTEN In the last few months, there has been a spate of comparisons be- tween Obama and some of our most influential former presidents. Just days after the election, Congress announced the theme of the inaugura- tion as “A New Birth of Freedom,” while reporters and commentators speculate about “A New New Deal” or “Lincoln 2.0.”1 Many of these comparisons are situational: Obama is a relatively inexperienced lawyer- turned-politician who will inherit two wars and an economic crisis un- equalled since the Great Depression.2 The backlash has been equally vocal. Many consider these com- parisons both premature and presumptuous, evidence that the media is sympathetic toward an Obama Administration or that the President-elect has himself orchestrated these connections.3 Indeed, Obama frequently invoked Lincoln as both a model for and an influence over his own can- didacy, which he launched on the steps of the Old State Capitol in Springfield, Illinois. He introduced Vice-President Joe Biden in the same spot, where the latter also referenced the memory of Lincoln.4 Cer- tainly it makes sense for Obama to exploit Lincoln’s legacy, for no other figure in American history continues to command such admiration, the occasional neo-Confederate or other detractor notwithstanding.5 To posi- tion Obama in front of the State House is surely meant to place him as a kind of an heir to Lincoln. -
Martin Cloonan Introduction an Attack on the Idea of America
MUSICAL RESPONSES TO SEPTEMBER 11TH: FROM CONSERVATIVE PATRIOTISM TO RADICALISM Martin Cloonan Introduction I want to propose something very simple in this paper: that the attacks which took place on 11 September 2001 were attacks on the very idea of America. This is not a new idea. It was cited by the New York Times soon after the attack and subsequently by the cultural critic Greil Marcus (2002). But what I want to add is that as time went on it became clear that the mu- sical responses which were made were defences of America. However, there were not uniform responses, but diverse ones and that is partly be- cause the idea of America is not settled, but is open to contestation. So what I want to do in the rest of this paper is to first examine notion that the attacks on 11 September were an attack on the idea of America, look briefly at the importance of identity within popular music, chart initial musical reactions to the events and then look at longer term reactions. An attack on the idea of America The attacks on 11 September were strategically chosen to hit the symbols of America as well as the reality of it. The Twin Towers symbolised American economic power, the Pentagon its military might. This was an attack on the psyche of America as well as its buildings and people. Both the targets were attacked for propaganda purposes as much as military ones. What more devastating way could have been found to show rejection of America and all it stands for? But the point I want to note here is that America itself is a contested notion. -
Picking the Vice President
Picking the Vice President Elaine C. Kamarck Brookings Institution Press Washington, D.C. Contents Introduction 4 1 The Balancing Model 6 The Vice Presidency as an “Arranged Marriage” 2 Breaking the Mold 14 From Arranged Marriages to Love Matches 3 The Partnership Model in Action 20 Al Gore Dick Cheney Joe Biden 4 Conclusion 33 Copyright 36 Introduction Throughout history, the vice president has been a pretty forlorn character, not unlike the fictional vice president Julia Louis-Dreyfus plays in the HBO seriesVEEP . In the first episode, Vice President Selina Meyer keeps asking her secretary whether the president has called. He hasn’t. She then walks into a U.S. senator’s office and asks of her old colleague, “What have I been missing here?” Without looking up from her computer, the senator responds, “Power.” Until recently, vice presidents were not very interesting nor was the relationship between presidents and their vice presidents very consequential—and for good reason. Historically, vice presidents have been understudies, have often been disliked or even despised by the president they served, and have been used by political parties, derided by journalists, and ridiculed by the public. The job of vice president has been so peripheral that VPs themselves have even made fun of the office. That’s because from the beginning of the nineteenth century until the last decade of the twentieth century, most vice presidents were chosen to “balance” the ticket. The balance in question could be geographic—a northern presidential candidate like John F. Kennedy of Massachusetts picked a southerner like Lyndon B. -
Crowds Anonymous Web Transactions Why Anonymity?
Crowds Anonymous Web Transactions Why anonymity? • The web contains a wealth of information on topics that you might want to explore privately • Support groups – victims of crime – private health concerns • Job search – don’t want to inform current employer of search • Concerned with private retrieval, not publishing Avi Rubin - CS 600.443 2 1 Privacy on the web … NOT • Browsers advertise – IP address, domain name, organization, referring page – platform: O/S, browser – which information is requested • Information available to – end servers – local system administrators – other third parties (e.g., doubleclick.com) • Cookies (not so sweet) Avi Rubin - CS 600.443 3 Example • A typical HTTP request GET http://www.amazon.com/ HTTP/1.0 User-Agent: Mozilla/3.01 (X11; I; SunOS 4.1.4 sun4m) Host: www.amazon.com Referer: http://www.alcoholics-anonymous.org/ Accept: image/gif, image/x-xbitmap, image/jpeg, image/pjpeg, */* Cookie: session-id-time=868867200; session-id=6828-2461327- 649945; group_discount_cookie=F Avi Rubin - CS 600.443 4 2 Example: doubleclick.com • Numerous sites link to ads at doubleclick.com • Due to Referer: field, doubleclick may capture your whole click-stream! Site A “… Referer: Site A …” You doubleclick.com “… Referer: Site B …” Site B Avi Rubin - CS 600.443 5 Online privacy in the press Avi Rubin - CS 600.443 6 3 Facets of anonymity • Adversaries – Eavesdroppers • local (system administrators) • global (backbone administrator) – Active attackers (local, global) – End servers, other users • Properties – Sender anonymity -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
Songs by Title
Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay -
Welcome to the Summer Season at the RNCM
Sonic art, laser beams and technology ignite our artistic programme, with the first-ever RNCM and Welcome FutureEverything collaboration, creating Tools for Unknown Futures – a festival combining innovative art and performance with new devices, insightful discussion and playful social to the experimentation (28 Mar – 1 Apr). Contrast, social debate and fast-changing Summer politics lie at the core of all of this, permeating our entire Summer programme with Zoe Trope (5 Apr), I Came and I Vanished (27 Apr), Youth Perform’s presentation of the post-WW1 season at socio-political Brecht/Weill collaboration, The Threepenny Opera (23 – 26 Apr), and culminating in the music of the salons and the RNCM concert halls between 1890 – 1900, in our Day of Song at the Royal Exchange Theatre (27 Apr). Opera Scenes are back (27, 29 May, 6, 13 Jun) covering a rich and diverse repertoire and RNCM Opera goes to the Capitol Theatre with a fantastic production of Stephen Sondheim’s Company (25 Jun – 4 Jul) Our International Artist Diploma recitals feature the beautiful tenor voice of Kang Wang in Ludwig van Beethoven’s An die ferne Geliebte (30 Apr), as well as the Zelkova Quartet (13 Jun) with Beethoven and Bartók String Quartets; while Chester Cathedral welcomes our International Artist Diploma Concerto Weekend (5 – 7 Jun) featuring Mozart’s glorious, yet wistful, Piano Concerto in E flat major (Yasmin Rowe), Rossini’s rarely performed Bassoon Concerto in B flat major (Alejandra Rojas), Ibert’s high-spirited, yet lyrical Flute Concerto (Helen Wilson) and Schumann’s spontaneously romantic Cello Concerto in A minor (Mikhail Nemstov). -
Vue Musicale NME
Sziget 2009: Une sélection très subjective… Par JFB le lun 10/08/2009 - 12:32 10 août Tankcsapda (lire l'article ci-dessus) 11 août Soirée RAR (Rock Against Racism) alias biZARE (Zene a Rasszizmus Ellen) En 1976, après certaines déclarations provocatrices de David Bowie et Eric Clapton, le mouvement RAR est créé et organise un premier concert pour lutter contre la montée du racisme en Grande Bretagne. Bien que ceux-ci se soient excusés par la suite, le mouvement a continué à défendre des valeurs de tolérance et de compréhension mutuelle par l’organisation de concerts et festivals, auxquels public et artistes (The Clash, The Buzzcocks, etc.) ont afflué. Relancé en 2002 par une série de concerts “Love Music Hate Racism”, le mouvement RAR a rencontré le soutien des artistes Damon Albarn, Kaiser Chiefs, Asian Dub Foundation. Que cette première journée rayonne sur tout le festival ! 12 août Nouvelle Vague 16:30 - Grande Scène Le projet de Nouvelle Vague est de réarranger de façon personnelle les plus grands titres post punk du début des années 1980 qui sont très rarement repris car jamais vraiment considérés comme de vraies chansons. Puis par la suite les titres sont réarrangés en suivant une autre idée: les sonorités des caraïbes entre 1940 et 1970, soit le ska/rocksteady, le reggae, le calypso, la salsa cubaine, le vaudou haitien, etc. D'où des arrangements et orchestrations très colorées, beaucoup de percussions, des guitares acoustiques et des voix féminines, mais aussi un chanteur, de l'accordéon, du steel drum etc. Nouvelle Vague reprend les titres de grands groupes emblématiques comme Bauhaus ou Siouxsie, aussi bien que des pépites oubliées.