Thematische Bibliographien / Doran Company

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Doran Company“

Autor: Grafiati
Veröffentlicht am 28. Juli 2024
Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Doran Company"

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Doran, John, and John Donnelly. "Interview with John Doran." Talent & Technology 01, no. 03 (2007): 19–21. http://dx.doi.org/10.2118/0103-19-tt.

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Doran, John, and John Donnelly. "Interview with John Doran." Talent & Technology 01, no. 03 (2007): 19–21. http://dx.doi.org/10.2118/0103-19-tt.

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3

Barley, Diane. "How to Write for Moving Pictures: A Manual of Instruction and Information, Marguerite Bertsch (1917)." Journal of Screenwriting 11, no. 3 (2020): 388–90. http://dx.doi.org/10.1386/josc_00043_5.

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Review of: How to Write for Moving Pictures: A Manual of Instruction and Information, Marguerite Bertsch (1917) New York: G. H. Doran Company, 268 pp., ISBN 978-13-40460-04-4, h/bk, £20.79 ISBN 978-13-77165-03-5, p/bk, £15.99
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Bogdańska, Olga, Verónica D’Auria, Coen Heijes, and Xenia Georgopoulou. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 133–52. http://dx.doi.org/10.2478/mstap-2013-0010.

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The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland 
 Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay
 Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada
 Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company
 A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece
 Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Stu
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Huertas Martín, Víctor. "The Tempest de William Shakespeare, dirigida por Gregory Doran (Royal Shakespeare Company, 2016-2017). Dialéctica entre tecnología virtual y corporalidad." Diablotexto Digital 3 (January 18, 2019): 43. http://dx.doi.org/10.7203/diablotexto.3.13015.

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Este artículo estudia la dialéctica que se da entre los cuerpos de los actores y la tecnología virtual en la producción de The Tempest de Gregory Doran (2016-2017). Dicha dialéctica será observada desde una óptica marxista – principalmente a partir del trabajo de Silvia Federici – y desde la crítica textual y escénica del texto de Shakespeare. Aspectos como la tecnología y el cuerpo serán de importancia para mi trabajo. Particularmente me centraré en el cuerpo como materia sometida al castigo corporal y a su instrumentalización en la película. También trabajaré a partir de la teorización de Ga
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Gregório, Paulo da Silva. ""Hamlet" na televisão: interfaces entre palco e tela." Letras, no. 63 (December 6, 2022): 112–26. http://dx.doi.org/10.5902/2176148555196.

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Várias produções britânicas de peças de Shakespeare para a televisão foram adaptadas de montagens teatrais. Essas adaptações do tipo palco-para-TV exploram elementos teatrais, televisivos e cinemáticos por meio de cuja combinação as performances ganham sentido na telinha. Este artigo investiga traços distintivos desse tipo específico de adaptação shakespeariana. Dando ênfase a uma adaptação televisiva de Hamlet a qual adaptou uma montagem teatral dirigida por Gregory Doran na Royal Shakespeare Company (2008), discutirei os mecanismos de intermedialidade e os processos de remediação a partir do
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Rogers, Jami. "Review ofCardenio(directed by Gregory Doran for the Royal Shakespeare Company) at the Swan Theatre, Stratford-upon-Avon, 28 April 2011." Shakespeare 8, no. 2 (2012): 255–57. http://dx.doi.org/10.1080/17450918.2012.679307.

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Kirwan, Peter. "Review of Shakespeare'sTwelfth Night(directed by Gregory Doran for the Royal Shakespeare Company) at the Courtyard Theatre, Stratford-upon-Avon, 10 November 2009." Shakespeare 6, no. 2 (2010): 246–49. http://dx.doi.org/10.1080/17450911003790224.

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Kirwan, Peter. "Review of Shakespeare'sA Midsummer Night's Dream(directed by Gregory Doran for the Royal Shakespeare Company) at the Courtyard Theatre, Stratford-upon-Avon, August 2008." Shakespeare 4, no. 4 (2008): 455–58. http://dx.doi.org/10.1080/17450910802501238.

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Kirwan, Peter. "Review of Shakespeare'sRichard II(directed by Gregory Doran for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 29 October 2013." Shakespeare 10, no. 2 (2014): 197–200. http://dx.doi.org/10.1080/17450918.2014.885071.

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Dissertationen zum Thema "Doran Company"

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Dora, Venkata Mohana Murali Krishna [Verfasser]. "Compact storage-based resistance spot welding power supplies / Krishna Dora Venkata Mohana Murali." Paderborn : Universitätsbibliothek, 2016. http://d-nb.info/1117642097/34.

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Bücher zum Thema "Doran Company"

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Eilers, Charles. It's a shy bird: The life and times of the US copyright edition of Seven pillars of wisdom. [publisher not identified], 2011.

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Joseph, Gradenwitz, ed. Catalogue of exemplary Hebrew books: The library of Joseph Gradenwitz... : [Auction], New York, the Doral Park Avenue Hotel. Kestenbaum & Company, 2006.

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author, Postal Matthew A., ed. B.F. Goodrich Company Building, 1780 Broadway, Manhattan: Built 1909; Howard Van Doren Shaw and Ward [i.e. Waid] & Willauer, associated architects. Landmarks Preservation Commission, 2009.

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NA. Compact Brit Lit Vol B& Pictures Dorian Gray. Addison Wesley Publishing Company, 2006.

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Malik, Shushma. The Criminal Emperors of Ancient Rome and Wilde’s ‘true historical sense’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0018.

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This chapter explores how Wilde uses ‘historic sense’ (the intuition of a learned historian and the antecedent of historical criticism) as a tool with which to analyse the past, particularly the criminal emperors of ancient Rome. In his essay ‘Pen, Pencil, and Poison’, Wilde claims that ‘true historical sense’ in relation to the past allows us to ignore the crimes of Nero and Tiberius, and instead to recognize and appreciate them as artists. His decadent reading of the past is undermined, however, when we compare this version of historically guided intuition with his definition of the phrase i
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Buchteile zum Thema "Doran Company"

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Denslow, Kristin N., and L. Monique Pittman. "Hamlet as Resisting Subject: Intersecting Artistic Tactics in the Mousetrap s of Doran and Godwin." In The Ethical Implications of Shakespeare in Performance and Appropriation. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781399524919.003.0003.

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Over the course of Hamlet’s performance history, the play-within-a-play has functioned as a meta-theatrical moment manifesting changing assumptions about the truth-telling potential of staged Shakespeare. In their Royal Shakespeare Company filmed stagings of Hamlet’s play, Gregory Doran (2010) and Simon Godwin (2016) explore ocular surveillance as epistemic method, highlighting the intermedial mechanics of reproduction in order to consider how the digitally imbricated human subject talks back to systems of power. As digital networks come to define and, often invisibly, confine the human in the
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"The Taming of the Shrew." In A Shakespeare Music Catalogue, edited by Bryan N. S. Gooch, David Thatcher, and Charles Haywood. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129424.003.0012.

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Abstract in Dorian Gray. MS 1973, revised 1975 (composer); Amsterdam: Donemus, 1975 (vocal-pf score in facsimile edn.). [Arioso in Act I of] opera: s solo, orch. The complete work requires 2 s, ms, 2 a, c-t or high lyric t, t, bar, b-bar, b soli; 2 fl (1 doubling pic), 2 ob (1 doubling oboe d’amore), cl, bcl, 2 hn, 2 tpt, trbn, b tuba, timp, perc (1 player for vibra, gl, suspended cym), hp, stgs; on-stage pf; elec tape (pre-recorded with choir, org). Libretto by the composer, based on Oscar Wilde’s The Picture of Dorian Gray. First performed Scheveningen, The Netherlands, 30 March 1974 (Nederl
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Doran, Jim E. "Trajectories to Complexity in Artificial Societies: Rationality, Belief, and Emotions." In Dynamics in Human and Primate Societies. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195131673.003.0010.

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This chapter illustrates and discusses the use of agent-based artificial societies to explore possible trajectories into social complexity through the integration of ideas from both anthropology and agent technology. Particular attention is paid to the role of rational cooperation, collective belief, and emotional dynamics in these trajectories. Some methodological problems associated with the use of artificial societies to build social theory are also discussed, especially how best to reduce the impact of our own cultural preconceptions. Computer simulation work in archaeology and anthropolog
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McVicker, Jeanette. "Virginia Woolf in Greece: “Curious contrasts!”: Hellenism and Englishness." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0012.

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A young Virginia Stephen describes the rustic beauty of Salisbury plain and its surroundings (including Stonehenge) in an early voicing of Englishness in the 1903 journal. Three years later, Virginia visits Greece and Turkey, where she begins to contrast that developing sense of Englishness with other nationalisms (German, Greek and Turkish), both resisting and appropriating the language of the tourist. In addition to helping her formulate a sense of national identity, as a woman and a writer, these trips share another aspect: they are suffused by personal experiences of loss (Leslie Stephen’s
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Gestermann, Louise. "The Transition from the Coffin Texts to the Book of the Dead." In The Oxford Handbook of the Egyptian Book of the Dead. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190210007.013.11.

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Abstract The Coffin Texts (CT) and the Book of the Dead (BD) are linked in manifold ways. The Pyramid Texts (PT) will mostly be disregarded in the following since only a few of those spells were included into the repertoire of the BD, and even these were only included through the CT. Concerning the CT, the remarks in this chapter generally refer to those texts that were designated as CT for scholarly reasons (for some general remarks on the origins of the BD compare Dorman, 2017: 29–39). Numerous connections and correspondences occur as spells from the earlier text corpus (CT) were selected an
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"Electrochemical studies on the reduction of nitro-containing imidazole and benzimidazole compounds as antiparasitic agents." In Book of Abstracts - RAD 2025 Conference. RAD Centre, Niš, Serbia, 2025. https://doi.org/10.21175/rad.abstr.book.2025.29.3.

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Imidazole compounds are widely used in therapy against parasitic and bacterial diseases. Very important representatives are nitro group-containing drugs such as tinidazole, metronidazole, etc. It is known that the nitro group can undergo bioreduction through transformation in radical anion, radical dianion, nitroso- and hydroxylamino derivative in hypoxic conditions becoming toxic because of the connection to the DNA with covalent bonds. Tinidazole was developed as an analogue of metronidazole and has been in use in Europe since 1969. It is used against protozoal parasites and a great number o
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Konferenzberichte zum Thema "Doran Company"

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Maryska, Milos, Petr Doucek, and Lea Nedomova. "The Digital Operational Resilience Act – Challenges For a Safer Financial Institutions." In 43rd International Conference on Organizational Science Development. University of Maribor Press, 2024. http://dx.doi.org/10.18690/um.fov.3.2024.45.

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The Digital Operational Resilience Act (DORA) is the latest regulation issued by the European Union to address the financial sector's growing reliance on technology and manage the associated cyber security risks. DORA sets the whole framework and extends the requirements for financial sector resilience not only to financial institutions themselves, but also extends the security requirements to suppliers of critical ICT services. This paper nalyses the main issues of implementation starting with just determining whether a company is subject to DORA through to the actual implementation and the i
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Gorobet, Ilinca. "Convergence of banking cybersecurity strategies to the new rules on digital operational resilience." In Economic Security in the Context of Systemic Transformations, 3rd Edition. Academy of Economic Studies of Moldova, 2024. http://dx.doi.org/10.53486/escst2023.06.

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Banks in the EU must ensure enhanced cyber security by the end of 2024 to comply with the Digital Operational Resilience Requirements (DORA), which was adopted by the European Council in November 2022. Every bank in the EU will have to be sure that its suppliers and their security controls comply with resilience standards. This is necessary to align banks' efforts with potential risks. The DORA sets uniform requirements for the security of banks' networks and IT systems, as well as third parties providing ICT services to them: cloud platforms or data analytics services. ICT service providers f
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Till, József, Szilvia Erdeiné Késmárki-Gally, and Judit Bernadett Vágány. "Cost Optimization Through Quality Management for a Sustainable IT Company." In 9th FEB International Scientific Conference. University of Maribor Press, 2025. https://doi.org/10.18690/um.epf.5.2025.50.

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Numerous studies support the notion that quality management plays a crucial role in enhancing economic efficiency, particularly through cost reduction and the optimization of operational processes. Companies operating in the IT sector typically focus on compliance with the ISO 27001 and ISO 20000 management systems. Additionally, in recent years, the emergence of frameworks such as NIS 2, DORA, and ESG has introduced new challenges for industry stakeholders. It is also essential to mention ITIL, which serves as the repository of “best practices,” as the proper implementation of this system sig
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