Journal articles on the topic 'A Raymond (Firm)'

Abstract One of the essential aspects of a company's design is its source of competitive advantage. Extrapolating from Raymond Loewy's famous design strategy acronym, MAYA—the Most Advanced Yet Acceptable Principle—and treating the firm as the object of design, this article explains the competitive advantage of firms from a design perspective. Our design-based recommendation for the competitive advantage of firms is to focus on shaping heterogeneity-based advantages of the firm in ways its paying customers would deem valuable. The novelty and conventionality dynamics of its industry will influence the degree of heterogeneity of the firm. Firms can shape their heterogeneity-based advantages through policies relating to organizational structure, routines, and product portfolio to name a few. Going beyond the role of a design in creating rents above and beyond what other firms can imagine, our claim focuses on the ways in which heterogeneity is a fundamental driver of its competitive advantage. If correct, the design-based view suggests that the ideal level of heterogeneity of the firm relative to current competitive conditions and evolution paths adopted by the firm and its competitors is more fundamental to firm profitability than its resources.

Accounting information is very essential in the taking of value creation decisions in an organization. Therefore the objective of this study is to identify the relation between the quality of the Accounting Information System and overall Performance within industrial firms. More specifically it builds on the model of Ives, Hamilton and Davis (1980) and Raymond (1984), to propose the conceptual framework of success factors of an accounting information system. The research is an inductive/interpretative research based on the content analysis of five case studies. A conceptual framework of success factors in the light of the model of Raymond (1984) in the Cameroon context is presented based on the analysis of the data suggesting that organizational factors are based on size, the environment and differentiation of information system. While individual factors are based on level of education, leadership style, recruitment etc. Industrial firms should differentiate and integrate their accounting information systems so that they can improve their overall performance. Keywords: Accounting information system, industrial organization, overall performance, differentiation, integration, coordination mechanisms.

Drawing on Walter Benjamin’s version of historical materialism and with reference to the concept of despecularization from psychoanalytic film theory, this article looks at the historical and cultural significance of Pyer Moss’s Spring/Summer 2015 fashion show, where Kerby Jean-Raymond, the artist and designer behind the label, used the runway to bring attention to state-enforced violence against Black men and women.

Background:The Addressing Lupus Pillars for Health Advancement (ALPHA) Project is a global consensus initiative to identify, prioritize and address top barriers in lupus drug development, clinical care and access to care. The Lupus Foundation of America convenes ALPHA with Tufts Center for the Study of Drug Development and a Global Advisory Committee of lupus experts representing clinician-scientists, industry and patients.Objectives:Collect global patient input to determine alignment with the lupus clinician-scientist community on prior published consensus of top lupus barriers.Methods:A 23-question online Qualtrics survey was developed to identify challenges across lupus diagnosis, clinical care and research participation. The survey, available in English, Spanish, Korean and simplified Chinese, was fielded in November 2019 to people with lupus and caregivers of children <18 with lupus. SPSS 26 and SAS 9.4 were used for descriptive statistics and sub-analysis.Results:Analysis included only consented responses with ≥ 68% survey completion (n=3,447) received across 83 countries. 95% were female with a mean age of 45. Respondents reported being White (57%), Black or of African descent (14%), Hispanic or Latino (18%) and Asian (10%). 65% resided in the US while 35% resided in countries outside of the US. 97% were people with lupus while 3% were caregivers to children <18 with lupus.Highest ranked challenges were similar globally and across children and adults: medication side effects, lack of treatment options and high out-of-pocket costs. Managing side effects ranked significantly higher (p<.05) outside of the US (48%) compared to US (40%). 50% of caregivers reported managing side effects as the top challenge for children compared to 43% of adults (p<.05). Research participation was low (24%) and lower among children (16%). The top reason for not participating in a clinical trial was not being asked by their doctor.Conclusion:This global survey revealed that medication side effects and lack of effective treatments are top challenges for people with lupus, including children. Most respondents were never asked by their doctors to participate in a clinical trial, which may explain difficulties in trial recruitment. These barriers are consistent with prior published barriers identified by the clinician-scientist community.Acknowledgments:ALPHA sponsors: EMD Serono, GSK, Aurinia, MallinckrodtDisclosure of Interests:Karin Tse: None declared, Yaritza Peña: None declared, Kathleen Arntsen: None declared, Sang-Cheol Bae: None declared, Lauren Bloch Consultant of: Faegre Drinker Consulting is a division of Faegre Drinker Biddle & Reath, a law and consulting firm that represents patient advocacy organizations and sponsors developing drugs, Ian N. Bruce Grant/research support from: Genzyme Sanofi, GSK, and UCB, Consultant of: Eli Lilly, AstraZeneca, UCB, Iltoo, and Merck Serono, Speakers bureau: UCB, Karen Costenbader Grant/research support from: Merck, Consultant of: Astra-Zeneca, Bradley Dickerson Employee of: Aurinia, Thomas Dörner Grant/research support from: Janssen, Novartis, Roche, UCB, Consultant of: Abbvie, Celgene, Eli Lilly, Roche, Janssen, EMD, Speakers bureau: Eli Lilly, Roche, Samsung, Janssen, Kenneth Getz: None declared, Amy Kao Employee of: EMD Serono, Susan Manzi: None declared, Eric F. Morand Grant/research support from: AstraZeneca, Consultant of: AstraZeneca, Speakers bureau: AstraZeneca, Sandra Raymond: None declared, Brad H Rovin Grant/research support from: GSK, Consultant of: GSK, Laura Schanberg Grant/research support from: Sobi, BMS, Consultant of: Aurinia, UCB, Sanofi, Victoria Werth Grant/research support from: Biogen, Celgene, Gilead, Janssen, Viela, Consultant of: Biogen, Gilead, Janssen, Abbvie, GSK, Resolve, AstraZeneca, Amgen, Eli Lilly, EMD Serono, BMS, Viela, Kyowa Kirin, Joan Von Feldt Shareholder of: GSK, Employee of: GSK, David Zook Consultant of: Faegre Drinker Consulting is a division of Faegre Drinker Biddle & Reath, a law and consulting firm that represents patient advocacy organizations and sponsors developing drugs, Leslie Hanrahan: None declared

This essay interweaves an analysis of Raymond Depardons short documentary film, 10 minutes de silence pour John Lennon (1980), with some broader reflections on time, cultural history, and silence. Shot in a single take, the film records the expressions, movements, and reactions of some of 200,000 mourners who gathered in Central Park to commemorate Lennons life six days after his death in December, 1980. Despite its observational form and aesthetic reticence, 10 minutes de silence renders unexpected coincidences of colour, perspective, gesture, and noise, spontaneous formations and patterns that resonate beyond the films actual moment and journalistic raison dêtre.

To Be a Woman is a short campaigning film made in 1950–1 by documentary film-maker Jill Craigie. This article offers an account of the film which aims to recover the affective life of both the film text and the archival correspondence between Craigie and the General Secretary of the National Union of Women Teachers, which refers to its production history. The article analyses the ‘feeling tones’ of the letters that describe both Craigie's attempts to get the film made and her difficulties in distributing it. It is argued that paying attention to these affective aspects of the archive and the film together enables a recalibration of (in a variant of Raymond Williams's formulation) the structure of feminist feeling in both the film and, to an extent, the wider public realm in the immediate post-war period. Paying attention to the film's affective dynamics in this way is also revealing, it is suggested, of its class and race positionality, enabling a more nuanced critical account of its politics.

Cet article veut montrer comment l’étude de l’adaptation cinématographique (par Louis Malle) du roman de Raymond Queneau, Zazie dans le métro, doit tenir compte d’un premier travail de transposition qu’on trouve dans le roman lui-même : le passage de l'oral à l’écrit. C’est à partir de là que l’auteure pose l’hypothèse de l’« intransposabilité » du roman. Hypothèse qu’elle prouve ensuite en considérant les différences fondamentales entre l’énonciation romanesque (déictique) et l’énonciation filmique (réflexive). Elle conclut ainsi que le film de Malle est, somme toute, impuissant à traduire les petites secousses du langage zazique.

Asked by an interviewer about the starting-point for his stories, Raymond Carver once commented:I never start with an idea. I always see something. I start with an image, a cigarette being put out in a jar of mustard, for instance, or the remains, the wreckage of a dinner left on the table. Pop cans in the fireplace, that sort of thing. And a feeling goes with that. And that feeling seems to transport me back to that particular time and place, and the ambiance of the time. But it is the image, and the emotion that goes with that image – that's what's important.If Carver was interested in moving from the image into narrative, his stories have had a tendency to inspire their readers to translate them back into images. This was initially a critical tendency, as parallels were frequently drawn between Carver's stories and the paintings of Edward Hopper, and the paintings and sculptures of Photo Realists such as Duane Hanson, Richard Estes and Ralph Goings. But it was not only critics who looked to draw connections. In 1989, for example, Jo Ann Callis used a selection of Carver's poems to accompany her photographs in an exhibition catalogue, Objects of Reverie, while Bob Adelman has produced a book of photographs purporting to represent Carver Country.

This article considers certain historical and theoretical aspects of Ken Loach's 1971 film about mental illness, Family Life. Historically, it explores the film's influences, particularly that of the 1960s ‘anti-psychiatry’ and counter-cultural figure, R. D. Laing. To this end, the article examines in detail a contemporaneous critique of Family Life, namely Peter Sedgwick's hostile review for Socialist Worker in 1972. In the light of this critique, the article then reconsiders, theoretically, Loach's strategies of socialist-realist representation in Family Life, particularly as they relate to, firstly, mental illness and institutional psychiatry; and secondly, the distinction drawn by Raymond Williams between artistic and political forms of representation.

This essay approaches the topic of translation through the motif of “transmutation”, Roman Jakobson’s term for a modality of translation understood to be inter-semiotic as opposed to either intra or inter-linguistic. Instead of developing transmutation as a re-wording of “adaptation” (for example, the elaboration of a novel as the screenplay for a film), this text brings transmutation into contact with “remediation”, a concept used within media studies to describe how, as McLuhan famously put it, media are always comprised of other media. More specifically, and with an eye toward the particular tension between radio and film, this text shows how remediation repeats with a difference what Raymond Williams meant by “residualism”, the survival within the cultural dominant of politically charged cultural technologies and practices from an earlier moment. Key here is the rivalrous character of this tension, that is, the fact that media that include other media typically do so by subjecting them to their own formal and narrative logics. Here is explored this dynamic through a reading of Michael Curtiz’s The Unsuspected from 1947, a film that narrativizes the rivalry between radio and film.

The current study of literary narrative is a vibrant and various activity, marked not by a single orthodoxy but by multiple approaches. Within that variety there are five especially salient issues currently being investigated: nonmimetic narrative; digital narrative; the fact/fiction distinction; narrative space; and rhetorical aesthetics. Rhetorical aesthetics moves not toward a universal standards of literary quality but toward an understanding of how narratives work on their own terms and of appropriate general criteria for judging those terms. These criteria, as a comparison of the endings of Raymond Chandler’s The Big Sleep and Howard Hawks’s adaptation of the novel to film suggests, typically are not purely aesthetic but involve the interrelation of form, ethics, and aesthetics.

Este artigo avalia empiricamente algumas propostas teóricas que privilegiam as capacitações e estruturas das firmas como determinantes do seu desempenho setorial. O desempenho da firma foi medido pela lucratividade, pela participação no mercado e pelos diferenciais de produtividade setorial. Os determinantes do seu desempenho têm como referência as propostas teóricas de Edith Penrose, Alfred Chandler, Richard Nelson e Sidney Winter, além de alguns argumentos de Stephen Hymer e Raymond Vernon. A partir das propostas desses autores foram criados alguns modelos econométricos específicos a cada autor. Para testar esses modelos empíricos foi utilizada uma base de dados com 4.498 firmas industriais. Os principais resultados indicam a importância da inovação tecnológica, da inserção externa e das economias de escopo e escala na determinação das diferenças de lucratividade entre as firmas de uma mesma indústria.

Yvonne Rainer's transition from choreography to filmmaking in the 1970s coincided with the widespread social and political impact of the women's movement. Through a close analysis of her second feature-length film, this essay argues that Film About a Woman Who … (1974) can be understood as a complex reflection on the widely influential feminist idea “the personal is the political.” Rather than seeing Rainer's turn to the personal and emotional as the antithesis of a materialist political analysis—as Marxist influenced critics have tended to—I draw upon Raymond Williams's concept of “structures of feeling” as a way of discerning emergent social change through figurations of lived experience. This analysis identifies moments of rupture in the film's narrative structure where questions of queerness and racial difference emerge to complicate the film's focus on (white, heterosexual) female identity. Moreover, Rainer's engagement with the emotional or personal has typically been seen as related only to her work's content and as such these references have been set in opposition to formal experimentation, whereas Williams's notion of the “structures of feeling” is addressed to transformations at the level of aesthetic form. By focusing on film form, this essay displaces the commonly held opposition of “structure” and “feeling” that continues to give shape to critical analyses of post—minimalist and post—conceptualist work of this period.

Chitwood, Raymond A. and David B. Jaffe. Calcium-dependent spike-frequency accommodation in hippocampal CA3 nonpyramidal neurons. J. Neurophysiol. 80: 983–988, 1998. Interneurons of the hippocampal formation are traditionally identified electrophysiologically as those cells that fire trains of weakly accommodating action potentials in response to depolarizing current injection. We studied the firing properties of nonpyramidal neurons in the five substrata of the CA3b region of hippocampus. With the use of whole cell recording methods we found that nonpyramidal neurons fired in a range from weak to strong spike-frequency accommodation (SFA) that was calcium dependent. Slow afterhyperpolarizations were not associated with strong SFA. In addition a subset of interneurons (∼20%) fired with an irregular firing pattern that was generally calcium independent. These results suggest a calcium-dependent mechanism for SFA in nonpyramidal neurons that is distinct from pyramidal cells and further demonstrates the heterogeneity of hippocampal interneurons.

Hyder Lakhani and Bruce D. Phillips are respectively vice-president, EEE Research, Fairfax, Virginia, USA, and senior economist, Office of Advocacy, United States Small Business Administration, Washington DC. This paper is based on research contract No. SBA-7177-AER-83 to EEE Research from the Office of Advocacy of the SBA. The authors are grateful to Thomas Gray and Raymond Marchikitus of the SBA for their valuable comments. The views and errors are those of the authors and not of the SBA. The objective of this paper is to analyse the economic impact of fuel costs and non-fuel costs on profits and sales of small business firms in ten Standard Metropolitan Statistical Areas in the US. The review of the literature (in Section 1) concludes that existing studies use industry aggregates from Census of Manufacturing data which exclude 80 percent of small firms so that the impact on small firms cannot be determined. Also, the studies fail to analyse the impact of fuel costs on profits and sales and arrive at contradictory conclusions. The authors develop an econometric model of the impact of energy costs on profits and sales in Section 2. The data on small business firms are developed from a survey report completed for the SBA (Section 3). Empirical estimates reveal that a one percentage point increase in fuel costs tends to reduce profits in the range of 0.009 to 0.07 percent and sales in the range of 0.01 to 0.06 percent. Increases in payroll and operating costs are correlated with increases in profits and sales because of labour- intensiveness of the small firms in the sample (Section 4). Policy implications of this paper are that small firms have not fully adjusted to the 1979 increase in fuel prices, or cannot adjust any further. Further, small firms must increasingly substitute non- fuel for fuel inputs or if that is not possible, then purchases of the least energy- intensive plant and equipment should be made, including energy conservation devices.

Arthur Honegger composed his first sound film scores in 1933–34. For Les misérables, Raymond Bernard, who was under contract at Pathé-Natan to direct big-budget theatrical films that would compete with Paramount's French-language productions, expected Honegger to provide intermittent orchestral underscoring for already filmed sequences that privileged dialogue over music. For Rapt, the musically trained Dimitri Kirsanoff used independent financing to collaborate from the start with Honegger and Arthur Hoérée on what the director called “a hybrid form … in which music, image, and dialogue work together.” The innovative electroacoustic and sound editing techniques in the soundtrack for Rapt have, I argue, overshadowed the strikingly reciprocal relationship between the soundtrack's more conventional instrumental underscoring and the images on screen. Honegger theorized in 1931 that, in sound film, music's “autonomy” would free it from the burden of mimesis. Instead, the images on screen would teach listeners about music's abstract “reality.” In practice, however, in Rapt, mimetic music and musicalized sound effects bridge the gap between aesthetic goals of hybridity and practical demands for intelligible dialogue. My analysis of the abduction, washhouse, storm, and dream sequences in Rapt demonstrates that a successful hybrid of sound and image ultimately has the potential not just to use images to pin down music's elusive “reality,” but also to use music's mimetic possibilities to influence our reading of ambiguous imagery. It also shows that music does not need to be in itself groundbreaking in order to contribute to groundbreaking innovations in sound film.

In my 2004 article on Chantal Akerman’s News From Home (1976), I deployed a Deleuzian reading of the film to release the film from being interpreted as manifesting the impossibility of a woman’s desire (Stephen Heath) or a desire to return to the mother (Richard Kwietniowski), arguing instead that the indeterminacy of the final sequence opens out onto a transformative freedom from identity. In this article, I persist with this idea but reconsider it in relation to Griselda Pollock’s convincing insistence that Akerman’s work is a journey towards maternal trauma, a position that she develops in relation to Akerman’s installation Walking Next to One’s Shoelaces Inside an Empty Fridge. Before encountering this work, Pollock says that Akerman’s cinematic intervention was linked to ‘the choked feminine voice in culture meeting a new cinematic formalism’ rather than to the ‘deeper trauma’ of being the child of a Holocaust survivor. Pollock’s convincing reading of Akerman’s installation as visualizing the effects of unmourned trauma transmitted to the children of Holocaust survivors had a profound impact on me, one that I take into consideration in my reframing in this article of the final sequence of News From Home. In this, I deploy Raymond Bellour’s adaptation of psychoanalyst Daniel Stern’s notion of ‘amodal perception’ as a sensory, kinetic modality of spectatorship. This model allows me to retain the transformative freedom from identity in my earlier reading, while nonetheless mapping early intersubjective relations onto the pleasures of the film body Akerman called ‘la jouissance du voir’.

AbstractKing George Island is the largest of the South Shetland Islands, close to the tip of the Antarctic Peninsula. The annual mean temperature on the island has increased by 1°C during the past three decades, and the ice cap that covers the majority of the island is sensitive to climatic change. We present data from two field campaigns (1997 and 2007): 700 km of global positioning system (GPS) and ground-penetrating radar (GPR) profiles were collected on Arctowski Icefield and on the adjacent central part. The data were analysed to determine the surface and bed topography and the thermal regime of the ice. Average ice thickness is 250 m and maximum thickness is 420 m. The GPR profiles show isochrones throughout the ice cap which depict the uparching of Raymond bumps beneath or close to the ice divides. A water table from percolation of meltwater in the snowpack shows the firn-ice boundary at ∼ 3 5 m depth. The firn layer may be temperate due to the release of latent heat. In the area below 400ma.s.l., backscatter by water inclusions is abundant for ice depths below the water table. We interpret this as evidence for temperate ice. Scatter decreases significantly above 400 m. Ice temperatures below the water table in this part of the ice cap are subject to further field and modelling investigations.

These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).

Cet article propose de situer la place de la dimension religieuse dans le « moment instituant » de la conscience de soi du Canada français au milieu du xixe siècle, pour ensuite cerner cette mémoire problématique à travers l’analyse des deux premiers romans de Gaétan Soucy, qui expriment le déplacement d’un contenu désormais invisible et spectral et les effets potentiellement catastrophiques d’un retour du refoulé. Poursuivant cette analyse à travers la lecture d’Atavismes de Raymond Bock, l’article met également en rapport cette hantise sans objet définissable de la périphérie que le recueil met en scène, périphérie que le film Carcasses de Denis Côté nous permet de cerner dans toutes ses composantes, en se plaisant à mettre en images un monde fortement ritualisé, ouvert à l’invisible, où la périphérie est une sorte de parenthèse inscrite dans l’histoire de l’Amérique, un arrêt sur image menant à de nouveaux possibles à construire. Il s’agit ainsi de mesurer jusqu’à quel point cette marginalité à l’égard du monde et de l’histoire recoupe — et prolonge — la « sortie du monde » proprement catholique d’une communauté ayant choisi à un moment de son histoire, pour des raisons diverses et selon des degrés évidemment variables, de se replier sur elle-même.

Landscape, as distinct from setting, presents its own visual authority, particularly in the horror genre. A number of contemporary British films contain pictorial images of the landscape that are not necessarily pivotal to the narrative. By implementing an analysis of these representations in contemporary British rural horror, and drawing on the theories of romanticism and the Sublime of the eighteenth and nineteenth centuries with their emphasis on the spiritual aspects of nature, allows for setting as more than narrative space. It produces an affect that elicits a certain type of emotion from the viewer, who is invited to experience an intuitive response on encountering the pictorial compositions, aiding narrative meaning. This essay examines what Martin Lebebvre describes as impure or spectator landscapes in two recent films: The Last Great Wilderness (MacKenzie, 2002) and Eden Lake (Watkins, 2008), and finds visual correlations drawn from the contemporary art world. This indicates that, from a socio-cultural perspective, the twenty-first century has witnessed an emergence of Romantic and sublime vocabulary in both film and painting, which indicates the existence of, what Raymond Williams might term, a structure of feeling.

Starting with Franco Moretti's hypothesis of a relationship between the experience of modernity and the coming of age narrative in the European novel, this article explores representations of the working-class Bildung in contemporary British films that can be seen as responding to social and economic changes generally associated with neoliberalism. Contrasting the emphasis on the individual negotiation of social space in the films of Danny Boyle with work from a range of directors, including Ken Loach, Penny Woolcock, Shane Meadows and Anton Corbijn, along with recent production cycles such as the football film, the article seeks to identify representations of working-class experiences, both limiting and liberating, which mark the inherently problematic attempt to imagine a successful working-class coming of age. In doing so, the article considers the usefulness of Raymond Williams’ class-inflected account of traditions of the social bond, in particular his notion of a ‘common culture’. At the same time, it examines how such representations of working-class life often emphasise the experience of class conflict, distinguished here from class struggle, and how, formally, this emphasis can result in narratives which are marked less by what Moretti describes as the ‘novelistic’, temporising structures of the classical Bildungsroman and more by the sense of crisis and trauma found in the late Bildungsroman and modern tragedy. Ultimately, the article argues for the relevance of the long view of the social history of Britain, as a pioneer culture of capitalism, in understanding these aspects of the representation of class cultures in contemporary British film.

By 1960, Britain’s once-thriving Music Hall industry was virtually dead. Theatres with their faded notions of Empire gave way to Cinema and the threat of Television. Where thousands once linked arms singing popular songs, watch acrobatics, see feats of strength, and listen to risqué jokes, now the echoes of those acts lay as whispers amongst the stalls’ threadbare seats. The Halls flourished in the 19th Century, but had their origins in the taverns of the 16th and 17th Centuries. Minstrels plied their trade egged on by drunken crowds. As time passed, the notoriety of the Music Hall acts and camaraderie produced grew. Entrepreneurial businessman tapped into this commerciality and had purpose-built status symbol theatres to provide a ‘home’ for acts and punters. With names like The Apollo giving gravitas approaching Olympian ideals, so the owners basked in wealth and glory. The Music Hall became the mass populist entertainment for the population. Every town had one, where everyone could be entertained by variety acts showing off the performers’ skills. The acts varied from singers, joke-tellers, comics, acrobats, to dancers. They all aimed to entertain. They enabled audiences to share a symbiotic relationship with one another; became recruitment officers for the Army; inspired War Poets; showed short films; and they and the halls reflected both the ideals and foibles of their era. By using Raymond Williams’ structures of feeling as its cornerstone, the article will give a brief history of the halls, whilst providing analysis into how they grew into mass populist entertainment that represented British culture. Case studies of famous artistes are given, plus an insight into how Music Hall segued into radio, film and television.

François Mauriac’s novel The Desert of Love (1949) puts the reader before an experienced sociologist who is skillfully able to analyze the most mysterious human emotions and feelings. The writer's starting point is that people are similar in feelings but different in behavior. He severely criticized the aristocratic class and uncovered its defects and faults. The novelist presents Courege's family as an example of the aristocratic class. It is a family torn by hatred, selfishness and disagreements due to absence of intimacy and love. This poisoned environment pushes the father and his son, Raymond, to search away for emotional ventures and banned relations to satiate their emotional thirst. Unfortunately, they fall in deep love with the same woman unintentionally. She does not satisfy their burning passion as she leaves them with much thirst for love. They become like getting out of frying pan into the fire. Finally, Mauriac figures out the reasons of all problems in the absence of love and passion which represent the key for welfare and happiness. The writer reveals his stylistic skill and unparalleled literary ability in describing the whole atmosphere which leaves the reader amused and captivated in passion battle , a battle with no winner. The paper is divided into two basic topics: .Dryness of family relations 1- .Emotional ventures and illegal relations 2- The research paper depends on objective analytic approach via topic unity analysis . Le Désert de L’Amour met le lecteur en face d’un sociologue chevronné du début du XX ème siècle, un sociologue apte à analyser expertement les sensations et les émotions humaines les plus subtiles et les plus fugitives . François Mauriac part d’un principe psychologique de base dans ses études, c’est que les gens convergent dans les pensées et les sentiments, mais ils divergent dans leurs manières d’agir . Son domaine favorable était la société et surtout la classe bourgeoise qu’il fouettait sans merci pour la mettre à nu avec tous ses torts et ses travers. Mauriac choisit la famille Courrèges comme échantillon de cette classe sociale. Il s’agit d’une famille déchiquetée par l’égoïsme, la haine et les malentendus permanents. Ce climat toxique et malsain pousse obligatoirement le père Courrèges et son fils Raymond à échapper à la famille pour chercher des aventures amoureuses et des relations extra conjugales afin d’assouvir leur soif d’amour. Par malheur, ils tombent amoureux de la même femme sans le savoir et sans jamais l’avouer. Malgré leur passion dévorante pour cette femme charmante, et à l’encontre de toute attente, elle n’a fait qu’élargir leur désert et augmenter son aridité; les deux amants sont restés sur leur soif pareils à celui qui , pour échapper à la chaleur, se protège par le feu. Tout compte fait, François Mauriac met le doigt sur la véritable plaie de tous ces problèmes en l’absence de l’amour. L’amour seul est la clé et le remède efficace qui peut transformer les déserts en jardins verdoyants. Dans son roman, l’auteur fait preuve d’ingéniosité dans le style, et de capacité littéraire inouïe qui berce le lecteur et le laisse emporter par son imagination dans une bataille amoureuse sans vainqueur . Cette recherche est divisée en deux thèmes principaux : 1-Sécheresse des relations familiales . 2-Aventures amoureuses et relations extraconjugales . Dans cette étude, nous avons recours à la méthode thématique, explicative et analytique .

This article seeks to deepen the debate on leadership, exploring specifcities of the Brazilian context on this topic, more specifically the principle of democratic management. The reflection focuses on both topics, explaining the path of the debate on democratic management since the mid-eighties of the twentieth century, passing through the Federal Constitution of 1988, the Law of Guidelines and Bases of National Education - Law number 9.394/96) and arriving on the most recent context, where the National Education Plan (PNE), of 2014, incorporates the subject to its goals. Considerations are presented on program contents of two national training programs: the Distance Training Program for School Managers (Progestão) and the National School Program for Managers of Basic Public Education (PNEGEB), also known as School of Managers. The main regulatory frameworks for democratic management are focused on relevant legislation. The study allows us to suggest the hypothesis that the principle of democratic management, associated with a political leadership, would have preponderated in the literature and initiatives of formation of school directors in the country, being the more technical dimension of the subject a little prioritized theme. In this sense, it can be said that the topic of leadership, as it is configured in other contexts, has become a repressed demand in Brazilian educational policy.ResumoEste artigo procura aprofundar o debate sobre liderança, explorando especificidades do contexto brasileiro em relação a esta temática, mais especificamente o princípio da gestão democrática. A reflexão detém-se sobre os dois temas, explicitando a trajetória do debate sobre gestão democrática desde meados dos anos oitenta do século XX, passando pela Constituição Federal de 1988, a Lei de Diretrizes e Bases da Educação Nacional – LDB (Lei nº 9.394/96) e chegando ao contexto mais recente, onde o Plano Nacional de Educação (PNE) de 2014 incorpora o assunto às suas metas. São apresentadas considerações sobre conteúdos programáticos de dois programas nacionais de formação: o Programa de Capacitação a Distância para Gestores Escolares (Progestão) e o Programa Nacional Escola de Gestores da Educação Básica Pública (PNEGEB), também conhecido como Escola de Gestores. Os principais marcos regulatórios da gestão democrática são focalizados na legislação pertinente. O estudo permite sugerir a hipótese de que o princípio da gestão democrática, associado a uma liderança de natureza política, teria preponderado na literatura e iniciativas de formação de diretores escolares no país, sendo a dimensão mais técnica do assunto um tema pouco priorizado. Nesse sentido, pode-se dizer que o tema da liderança, tal como se configura em outros contextos, tem se constituído em demanda reprimida na política educacional brasileira.ResumenEste artículo busca profundizar el debate sobre liderazgo, explorando especificidades del contexto brasileño en relación a esta temática, más específicamente el principio de la gestión democrática. La reflexión se detiene sobre los dos temas, explicitando la trayectoria del debate sobre gestión democrática desde mediados de los años ochenta del siglo XX, pasando por la Constitución Federal de 1988, la Ley de Directrices y Bases de la Educación Nacional - LDB (Ley nº 9.394/96) y llegando al contexto más reciente, donde el Plan Nacional de Educación (PNE), de 2014, incorpora el asunto a sus metas. Se presentan consideraciones sobre contenidos programáticos de dos programas nacionales de formación: el Programa de Capacitación a Distancia para Gestores Escolares (Progestão) y el Programa Nacional Escuela de Gestores de la Educación Básica Pública (PNEGEB), también conocido como Escuela de Gestores. Los principales marcos regulatorios de la gestión democrática se centran en la legislación pertinente. El estudio permite sugerir la hipótesis de que el principio de la gestión democrática, asociado a un liderazgo de naturaleza política, habría preponderado en la literatura e iniciativas de formación de directores escolares en el país, siendo la dimensión más técnica del tema un tema poco priorizado. En ese sentido, se puede decir que el tema del liderazgo, tal como se configura en otros contextos, se ha constituido en demanda reprimida en la política educativa brasileña.Keywords: Leadership and democratic management, Educational legislation, Public policies, Scholar managers training.Palavras-chave: Liderança e gestão democrática, Legislação educacional. Políticas públicas, Formação de gestores escolares.Palabras claves: Liderazgo y gestión democrática, Legislación educativa, Políticas públicas, Formación de gestores escolares.ReferencesALMEIDA, Bruno Luiz Teles de. 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Raymond James Wood Le Fèvre was born in North London on the first day of April, 1905. He was the eldest of three children of Raymond James Le Fèvre, the managing clerk of a firm of London solicitors, and Ethel May Le Fèvre ( née Wood). Of his four grandparents, three had died before 1910. Only his father’s mother, née Louise Darby, of Bath, survived into his childhood. She was a strict, severe and religious person, always dressed in black, as was then customary for widows. She, with her watchmaker husband, had, many years before, established a home in Richmond, Surrey, and there produced six children of whom Le Fèvre’s father was the youngest boy. Her family practically formed the local church choir of St Elizabeth’s Roman Catholic Church at Richmond. At 8 years of age, Le Fèvre became an altar boy and he remained in close association with this church, eventually becoming the Master of Ceremonies in his twenties. Further, through his close friendship with many of the clergy, he found great interest in church and choral music, history, ritual and church vestments. This aspect of his education and life over the years ran in parallel with his secular life.

DESTINATION: 9th HEAVEN (Hong Kong-China, 1997). Dir: Wong Chun Man. Cast: Tony Leung Kar-fai, Pan Hong, Gigi Lai, Christine Ng, Sunny Chan, Lau Ying Hung.IRON SISTER (Taiwan-China, 1997). Dir: Yeh Hung-wai. Cast: Shu Qi. Destination: 9th Heaven stars Tony Leung Kar-fai (The Lover), Winston Chao (Eat Drink Man Woman) together with the Mainland Chinese veteran actress Pan Hong. Produced by the shrewd veteran actor-producer Raymond Wong, the film is a tale of love and business rivalry set in Hongkong and Tianjin (Tientsin). Iron Sister is adroitly directed by one of Taiwan's foremost New Wave filmmakers, Yeh Hung-wai who gained international prominence with a made in China film Five Girls And A Rope two years back. His latest work features the promising Taiwanese star Shu Qi (last seen in Derek Yee's satire Viva Erotica) who plays a tenacious huntress called Iron Sister Suen. The settings of both films present...

In this article, I revisit Raymond Williams’ idea of culture as display, which he developed to describe a particular moment in culture–state relations: the use of culture and the arts in celebration, embellishment and strengthening of the economic and political power of the state. Jim McGuigan applied this concept to contemporary national cultural policy, emphasizing the significance of display under global capitalism. Besides this notable attempt, Williams’ idea of culture as ‘display’ has never received the attention it deserves. The main purpose of this article is to advance the understanding of ‘display’ by considering its place within the context of urban cultural policy. A critical inquiry into the roles of arts and film festivals helps to dissect different instrumental layers of urban display practices and to capture the ‘symbolic power’ of display. This, in turn, contributes to a more comprehensive conceptualization of globalized urban festivals.

Penelitian ini dilakukan untuk menguji dan menganalisis implikasi dari praktek sumber daya manusia yang terdiri dari perencanaan karir, pelatihan dan penilaian kinerja terhadap kepuasan kerja dan kinerja karyawan pada Kantor Distrik Navigasi Kelas III Pontianak. Penelitian ini menggunakan metode kuantitatif dengan pendekatan korelasi, atau juga penelitian yang dirancang untuk menentukan tingkat hubungan variabel-variabel yang berbeda dalam suatu populasi. Sampel dari penelitian ini berjumlah 130 responden dari karyawan pada Kantor Distrik Navigasi Kelas III Pontianak. Metode pengambilan sampel dalam penelitian ini dilakukan dengan sampel jenuh. Data diperoleh melalui kuesioner, kemudian dianalisis dengan menggunakan model jalur (path) dengan menggunakan software SPSS versi 20.0 untuk windows. Berdasarkan temuan ini, disarankan kepada pimpinan untuk meningkatkan kepuasan kerja atau secara langsung dapat meningkatkan kinerja karyawan. 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