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Journal articles on the topic 'Arts, directories'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Shaw, Gareth, and Tim Coles. "European directories: a universal source for urban historians." Urban History 22, no. 1 (May 1995): 85–102. http://dx.doi.org/10.1017/s0963926800011391.

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This article stresses the need to develop a more systematic approach to data sources in a context of greater European comparative study. The work and initial findings of the European Directories Project to provide a resource guide of one universal European data source, the town directory, are outlined here. Pathways and mechanisms of directory evolution are considered with special reference to Germany. This is succeeded by a discussion of the problems associated with the compilation of a pan-European directory database and the potential difficulties associated with directory use in urban historical research.

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2

BARKER, HANNAH. "‘Smoke cities’: northern industrial towns in late Georgian England." Urban History 31, no. 2 (August 2004): 175–90. http://dx.doi.org/10.1017/s0963926804002093.

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The industrial towns of northern England have been largely overlooked during the late eighteenth and early nineteenth centuries. This article examines newspaper advertising, directories, public building and improvement in Manchester, Leeds and Sheffield and identifies a middling, consumerist society, where urban culture was firmly rooted in the localities in which it developed. The nature of this culture challenges simplistic understandings of metropolitan dominance and questions the utility of national models of consumerism and ‘politeness’ that ignore the importance of regional variation and provincialism.

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3

Varley, Gillian. "Making the vision work." Art Libraries Journal 19, no. 3 (1994): 13–17. http://dx.doi.org/10.1017/s0307472200008890.

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How has the vision of the pioneers of ARLIS translated into the activities and achievements of the Society and its members in the present? The relationship of ARLIS and the National Art Library at the Victoria and Albert Museum has radically improved; collaborative projects in the areas of periodicals, slides and exhibition catalogues have yielded fruits in the form of union lists, surveys and directories; the longstanding Directory of members has been joined by a new directory documenting art, design and architecture resources in the UK and Ireland. However, as the Follett Report shows, the demands on libraries in the UK are heavier than ever before and will continue to increase, meaning that libraries will have to find new strategies to keep abreast of demand and take advantage of the new technologies. ARLIS should broaden its membership and may be able to achieve some of its long-term goals through the Visual Arts Library and Information Plan.This article is a revised version of a paper delivered to the 25th Anniversary Conference of ARLIS/UK & Ireland, London, 7th-10th April 1994.

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4

RAVEN, NEIL. "Chelmsford during the industrial revolution, c.1790–1840." Urban History 30, no. 1 (May 2003): 44–62. http://dx.doi.org/10.1017/s0963926803001032.

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Were England's old shire towns marginalized from the process of economic change during the period of the classical Industrial Revolution? A number of contributors to The Cambridge Urban History of Britain, Vol. II make this claim, others emphasize the continued relevance of these towns in the emerging industrial age. With few investigations undertaken into the county towns of the late eighteenth and early nineteenth centuries, detailed case study analysis is needed. Using trade directories to profile Chelmsford's business community, this article presents evidence of a dynamic and prosperous urban economy.

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5

Rodger, Richard. "Gareth Shaw and Allison Tipper, British Directories: A Bibliography and Guide to Directories published in England and Wales (1850–1950) and Scotland (1773–1950). Leicester: Leicester University Press, 1989. viii + 440pp. 14 figures. 5 tables. £47.50." Urban History 16 (May 1989): 240–41. http://dx.doi.org/10.1017/s0963926800009548.

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6

McCracken, Peter. "Association and Division Membership among Small College Librarians." College & Research Libraries 60, no. 4 (July 1, 1999): 364–71. http://dx.doi.org/10.5860/crl.60.4.364.

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This study explores ALA membership among directors at small liberal arts colleges. Results show that directors at the smallest colleges are much less likely to be members of ALA and ACRL than their colleagues at larger colleges are. The study investigates trends based on the director’s level of completed education, the director’s tenure at her or his institution, and the relative size of the institutions. The discussion questions why directors at smaller colleges are less likely to be members of ALA and ACRL and examines how those associations might expand their services among these individuals.

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7

Eze, Sunday C., Vera C. A. Chinedu-Eze, and Hart O. Awa. "Key Success Factors (KSFs) Underlying the Adoption of Social Media Marketing Technology." SAGE Open 11, no. 2 (April 2021): 215824402110066. http://dx.doi.org/10.1177/21582440211006695.

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In developing world, most decisions by Micro, Small, and Medium Enterprises (MSMEs) to adopt social media marketing technology (SMMT) rely heavily on study findings from the Western World without much recourse to cross-context differences in structure and managerial capabilities. Thus, the lack of inquiries that provide complete guideline on the adoption of SMMT in developing economies hinders the development of integrated framework(s) that explains MSMEs’ successful adoption. The study used technology–organization–environment (T-O-E) framework as the theoretical basis to examine the critical factors that stimulate MSMEs adoption of SMMT in Nigeria. The adopted methodological choice was qualitative, involving interviews with 20 participants selected from the online directories via purposive and snowball sampling techniques. However, thematic analysis was the data treatment technique; and the study extended the T-O-E framework to provide an understanding into the dominant factors that specifically influence MSMEs’ adoption, without losing sight of vendors who would rely on the extended framework to get audiences continually satisfied.

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8

Hollern, Matthew. "Conference Arts Director's Statement." Leonardo 43, no. 4 (August 2010): 324. http://dx.doi.org/10.1162/leon_e_00003.

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9

Borsay, Peter, Callum Brown, and M. J. Daunton. "P.J. Atkins, The Directories of London, 1677–1977. London and New York: Mansell, 1990. 732pp. 38 figures. Tables. Bibliography. £60.00." Urban History 19, no. 1 (April 1992): 160–61. http://dx.doi.org/10.1017/s0963926800009810.

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10

Rosevear, Alan, Dan Bogart, and Leigh Shaw-Taylor. "The spatial patterns of coaching in England and Wales from 1681 to 1836: A geographic information systems approach." Journal of Transport History 40, no. 3 (September 26, 2019): 418–44. http://dx.doi.org/10.1177/0022526619875258.

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Passenger coach services grew enormously in England and Wales between 1681 and 1836. This article documents the spatial patterns using data from trade directories, original maps and geographic information systems. Digital mapping illustrates the development of long-distance services from London to various destinations, including resorts, ports, industrial towns and county towns. Mapping also illustrates the development of Country services between provincial towns, especially major hubs like Manchester and Birmingham, and commuter traffic around large conurbations. Overall the maps and figures point to substantial change in destinations and the structure of the coach network. Country coach services increased after the 1790s to complement the London services. By 1835, an extensive, interlinked network of long-stage coaches grew across the country and a radial network of daily-return services grew on roads leading into London. Beyond coaching, our findings illustrate how traditional primary sources can yield new insights when combined with geographic information systems.

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11

HARRIS, RICHARD, and ROBERT LEWIS. "Numbers didn't count: the streets of colonial Bombay and Calcutta." Urban History 39, no. 4 (October 11, 2012): 639–58. http://dx.doi.org/10.1017/s0963926812000429.

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ABSTRACT:Street and house numbers are part of the modern state's geo-locational regime, by which people and places are made legible to distant governments and bureaucrats. Some writers have suggested that they were important in colonial cities, where urban regulation and political control was often insecure, but we know little about their extent and significance in such settings. Bombay and Calcuttac.1901 are significant test cases, being two of the largest colonial cities in the world, as well as being recent sites of major disease outbreaks. City directories in Bombay, together with property assessment and census evidence for Calcutta, show that house numbers were rare for all types of property and people. Local residents used other methods to navigate the city, while British administrators did not believe house numbers to be an important aspect of colonial rule. Fragmentary evidence for other colonial cities suggests that the experience of these Indian cities was broadly typical.

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12

O'Baoill, Eilís. "Directors Show, Catalyst Arts, Belfast, January 1997." Circa, no. 79 (1997): 60. http://dx.doi.org/10.2307/25563112.

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13

Johnston, David. "Measurement, Scale, and Theater Arts." Mathematics Teaching in the Middle School 9, no. 8 (April 2004): 412–17. http://dx.doi.org/10.5951/mtms.9.8.0412.

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Greek mathematicians developed the musical scale; Italian mathematicians inspired the Renaissance by introducing perspective and proportion in their artwork; and a group of eighth-grade algebra students earned the applause of middle school theater directors through the practical application of scale, measurement, geometry, and problem solving. These young mathematicians designed small-scale models of play sets and presented them to theater directors at a local competition called the One-Act Play.

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14

Campa Fernández, José Manuel. "Lessons From the Crisis for Corporate Finance: Back to Reality." IESE Insight, no. 16 (March 18, 2013): 13–19. http://dx.doi.org/10.15581/002.art-2311.

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15

Balzi Costa, Leticia. "La violencia de género como estética en la cultura visual de Europa y América desde el siglo XVI al XXI=Gender violence as aesthetics in European and American visual culture from the 16th to the 21st century." Cuestiones de género: de la igualdad y la diferencia, no. 16 (June 29, 2021): 12. http://dx.doi.org/10.18002/cg.v0i16.6728.

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<p align="left"><strong>Resumen</strong></p><p>Esta investigación expone la estructura de un patrón de objetificación respecto al cuerpo femenino que responde a políticas capitalistas utilizando a la cultura visual e historia del arte como medio desde los siglos XVI al XXI. A partir de la recolección y análisis de los trabajos de artistas, directores de arte, fotógrafos, directores de cine y diseñadores de videojuegos se creó un archivo visual en formato digital. El archivo presenta las políticas estéticas dentro del marco geográfico de América y Europa que aún comercian con raza, género, etnia y clase. Se plantea además el problema de la difusión de este tipo de imágenes dentro del mercado global que continúa utilizando una estética que apela a la violencia de género. </p><p align="left"><strong>Abstract</strong></p><p>This research exposes the structure of an objectification pattern regarding the female body which responds to capitalist policies using visual culture and art history as a medium from the 16th to the 21st centuries. From the collection and analysis of the works from artists, art directors, photographers, film directors and video game designers, a visual archive was created in digital format. The archive presents the aesthetic politics within the geographic frame of America and Europe which still trade with race, gender, ethnicity and class. The problem of the dissemination of this type of images within the global market is also mentioned because gender violence is still used as aesthetics.</p>

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16

Gluck, Robert. "The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran." Leonardo 40, no. 1 (February 2007): 20–28. http://dx.doi.org/10.1162/leon.2007.40.1.20.

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Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.

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17

Mankin, Lawrence D., Ronald W. Perry, Phil Jones, and N. Joseph Cayer. "Executive Directors of Local Arts Agencies: Who Are They?" Journal of Arts Management, Law, and Society 36, no. 2 (July 2006): 86–103. http://dx.doi.org/10.3200/jaml.36.2.86-103.

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18

Jia, Leilei. "Research issues on martial arts directors in Chinese Cinema." International Communication of Chinese Culture 5, no. 4 (November 2018): 287–91. http://dx.doi.org/10.1007/s40636-018-0130-9.

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19

Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.

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The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings were made of it, it was registered in the monuments directories, but nobody lifted it into the style historical narrative before Jolán Balogh, and when it took place at last, it was erroneously dated to 1573. In her history of Hungarian renaissance art, she included it with the date 1573 in the chapter on the late renaissance (1940). She cited it rightly as an example of the survival of Italianate forms in the 16th century in all editions of the two-tome manual up to 1973. Then it disappeared from sight again. It was omitted from the university course book (2001). At last, in the renaissance volume of the series on Hungarian art by Corvina Publishers a photo of it was reproduced too (2009).Slovakian art historiography has naturally devoted more attention to it, and also read the date correctly. It is included in the four-volume monuments directory and also in the summaries. It was ascribed a salient place in the great renaissance monograph of 2009 edited by Ivan Rusina. Since the type of the book did not allow images of seals to be presented for analogy, it is worth returning to the problem briefly.The central panel of the parapet carries the coat of arms and the date 1523. In the shield there is an eagle with spread wings, looking to dexter flank. There is an arched banderole (with a rosette in the middle) in front of its crop and a tiny six-point star above its head. On the chief there is a helmet with mantling falling on either side. It is topped with an imperial mitre crown with ribbons, cross and crosier and a crest above. The elements of the coat of arms – the eagle, star and imperial crown – are identical with the motifs in the coat of arms of the Counts of Szentgyörgy and Bazin. The ancient coat of arms of the family, with the six-point star of two colours, was endorsed by Holy Roman emperor Frederic III in 1459. Enikő Spekner pointed out that Count Tamás of Szentgyörgy and Bazin already used a quartered shield in 1496 (with the star in fields 1 and 4 and the eagle in fields 2 and 3) in 1496, and so did seneschal Péter of Szentgyörgy and Bazin, too (1511). On the seal dated 1540 of Kristóf II of Szentgyörgy and Bazin – with whose death the male line of the family died out (1543) – the shield only features the left-looking eagle, and on the chief the imperial crown and peacock feathers can be seen. Changes in the use of the coat of arms cannot be accurately retraced, but the town was the property of the family until 1543 and after Kristóf II’s death it passed to the treasury. The coat of arms strongly suggests that the person who commissioned the pulpit must be sought among the members of the family still alive in 1523. On the younger Bazin line Ferenc and Farkas were alive and shared the office of lord lieutenant of Moson until 1521; the family died out with Farkas’ son Kristóf (his birthdate is not known).The pulpit received coats of white paint and thick gilding in more recent times. Its new wooden abat-voix was made in the 18th century; the medieval stone edifice must have been repaired at that time and on several occasions later. The ornamental elements of the parapet of the basket closely resemble some Italian renaissance antecedents; what may suggest the involvement of northern masters is the regular, rigid symmetry of the cherubim heads, and more emphatically the thick column holding the basket of the pulpit. Its shaft bulges midway, its capital above the necking is embellished with flutes of regularly alternating sizes; on it is a polygonal echinus with concave sides which holds the broadly spreading dense bunch of acanthus leaves. It is like a perfectly spoiled Corinthian column of bad proportions. The origin of this representative monument must be hypothesized from the direction of Vienna, even if no exact analogy can be compared with it at present. Both the network of relations of the landowning family and the geographic proximity support this assumption.

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20

Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.

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The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings were made of it, it was registered in the monuments directories, but nobody lifted it into the style historical narrative before Jolán Balogh, and when it took place at last, it was erroneously dated to 1573. In her history of Hungarian renaissance art, she included it with the date 1573 in the chapter on the late renaissance (1940). She cited it rightly as an example of the survival of Italianate forms in the 16th century in all editions of the two-tome manual up to 1973. Then it disappeared from sight again. It was omitted from the university course book (2001). At last, in the renaissance volume of the series on Hungarian art by Corvina Publishers a photo of it was reproduced too (2009).Slovakian art historiography has naturally devoted more attention to it, and also read the date correctly. It is included in the four-volume monuments directory and also in the summaries. It was ascribed a salient place in the great renaissance monograph of 2009 edited by Ivan Rusina. Since the type of the book did not allow images of seals to be presented for analogy, it is worth returning to the problem briefly.The central panel of the parapet carries the coat of arms and the date 1523. In the shield there is an eagle with spread wings, looking to dexter flank. There is an arched banderole (with a rosette in the middle) in front of its crop and a tiny six-point star above its head. On the chief there is a helmet with mantling falling on either side. It is topped with an imperial mitre crown with ribbons, cross and crosier and a crest above. The elements of the coat of arms – the eagle, star and imperial crown – are identical with the motifs in the coat of arms of the Counts of Szentgyörgy and Bazin. The ancient coat of arms of the family, with the six-point star of two colours, was endorsed by Holy Roman emperor Frederic III in 1459. Enikő Spekner pointed out that Count Tamás of Szentgyörgy and Bazin already used a quartered shield in 1496 (with the star in fields 1 and 4 and the eagle in fields 2 and 3) in 1496, and so did seneschal Péter of Szentgyörgy and Bazin, too (1511). On the seal dated 1540 of Kristóf II of Szentgyörgy and Bazin – with whose death the male line of the family died out (1543) – the shield only features the left-looking eagle, and on the chief the imperial crown and peacock feathers can be seen. Changes in the use of the coat of arms cannot be accurately retraced, but the town was the property of the family until 1543 and after Kristóf II’s death it passed to the treasury. The coat of arms strongly suggests that the person who commissioned the pulpit must be sought among the members of the family still alive in 1523. On the younger Bazin line Ferenc and Farkas were alive and shared the office of lord lieutenant of Moson until 1521; the family died out with Farkas’ son Kristóf (his birthdate is not known).The pulpit received coats of white paint and thick gilding in more recent times. Its new wooden abat-voix was made in the 18th century; the medieval stone edifice must have been repaired at that time and on several occasions later. The ornamental elements of the parapet of the basket closely resemble some Italian renaissance antecedents; what may suggest the involvement of northern masters is the regular, rigid symmetry of the cherubim heads, and more emphatically the thick column holding the basket of the pulpit. Its shaft bulges midway, its capital above the necking is embellished with flutes of regularly alternating sizes; on it is a polygonal echinus with concave sides which holds the broadly spreading dense bunch of acanthus leaves. It is like a perfectly spoiled Corinthian column of bad proportions. The origin of this representative monument must be hypothesized from the direction of Vienna, even if no exact analogy can be compared with it at present. Both the network of relations of the landowning family and the geographic proximity support this assumption.

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21

Rapetti, Valentina. "Staging Desdemona in African time: A conversation with Peter Sellars." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 319–36. http://dx.doi.org/10.1386/jafp_00034_7.

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For the past 40 years, Peter Sellars has been one of the most innovative, eclectic and prolific directors in Western theatre. A deeply cultivated and politically committed practitioner whose vision and craft span a multitude of widely divergent theatrical traditions, genres and styles, Sellars has established his international reputation as a polymath in the performing arts. With more than 100 productions to his name, including community-based, transnational and transcontinental work, Sellars is known worldwide for his contemporary interpretations of canonical plays and operas that combine radical imagery, technical virtuosity, structural rigour, intellectual depth, social critique and moral intent. In this interview, he shares details about his collaboration with African American writer Toni Morrison and Malian musician Rokia Traoré in the creation of Desdemona (2012), a cross-cultural adaptation of William Shakespeare’s Othello, talking about theatre as ritual, directorial choices, acting as channelling and intertextuality.

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22

Masgrau-Juanola, Mariona, and Débora Da Rocha-Gaspar. "Las escuelas de artes y oficios como pioneras de una educación democrática y emancipadora." Arte, Individuo y Sociedad 33, no. 2 (February 2, 2021): 605–20. http://dx.doi.org/10.5209/aris.70271.

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Esta investigación, sobre historia de la educación artística, se centra en la labor democrática de las escuelas de artes y oficios y sus interrelaciones con la educación general. Se analizan los orígenes de las Escuelas de Artes y Oficios de Barcelona entre finales del siglo XIX y principios del siglo XX, principalmente de la Escola Gratuïta de Disseny de Barcelona, y la influencia de los movimientos artísticos europeos contemporáneos, como las Arts and Crafts, el Modernismo y el Novecentismo. A partir de una metodología descriptiva-interpretativa, se pone de relieve que la misión de estas instituciones iba más allá de la formación artística y laboral, ya que fueron las primeras en proporcionar una educación democrática integral fuera de la escuela pública, ejerciendo un papel relevante en la alfabetización y el acceso a la cultura por parte de toda la ciudadanía. Con ello, se anticipaban a las propuestas democráticas que poco más tarde definirían John Dewey, Paolo Freire y William Morris, entre otros, y que defendían la necesidad de facilitar una cualificación holística y adecuada a la clase obrera. Los resultados derivan de la documentación escrita y fotográfica de distintos archivos locales y nacionales, de entrevistas a directores y ex-alumnos de estas instituciones y la consulta bibliográfica especializada.

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23

de Berardinis, Leo. "From Shakespeare to Shakespeare: the Theatre Transcended." New Theatre Quarterly 7, no. 25 (February 1991): 49–63. http://dx.doi.org/10.1017/s0266464x00005182.

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In spite of periods of withdrawal, Leo de Berardinis is one of the few author-directors from the new Italian theatre of the 1960s and 1970s who has remained faithful to the spirit of experiment, and attempted consistently to renew himself and his processes of theatremaking. In an introduction to the interview which follows, Marco de Marinis outlines the earlier years of de Berardinis's career, and notes the characteristic features of the productions of that period. The interview itself explores his view of the theatre and theatricality from the standpoint of the mid-1980s. At its core is a discussion of de Berardinis's 1985 production of King Lear – the director's second encounter with the play – in relation to his own aims, to the interpretive views of other theatre people and critics, and to what de Berardinis believes we may still perceive of Shakespeare's intentions. A postscript by Marco de Marinis outlines subsequent developments in the director's work.

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24

Teo, Stephen. "Confucian Orientalism and Western Outlook in Martial Arts Film." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 65–82. http://dx.doi.org/10.1515/jcfs-2021-0006.

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Abstract This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of directors like Kurosawa and Zhang in pandering to Western tastes. However, these same directors seem equally preoccupied with fostering a sense of self and nationalistic expression in their response to and treatment of Orientalized content. The paper concludes with a discussion on The Great Wall (2016) as a comparative review of the Western and Eastern viewpoints at play in the US-China co-production. Here the analysis revolves around the issue of sameness, dramatized as a main theme in the film.

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25

Redaelli, Eleonora. "Directors of Undergraduate Arts Management Programs: Shaping Their Administrative Roles." Journal of Arts Management, Law, and Society 43, no. 2 (April 2013): 115–17. http://dx.doi.org/10.1080/10632921.2012.727774.

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26

Scapolan, Annachiara, Fabrizio Montanari, Sara Bonesso, Fabrizio Gerli, and Lorenzo Mizzau. "Behavioural competencies and organizational performance in Italian performing arts." Academia Revista Latinoamericana de Administración 30, no. 2 (June 5, 2017): 192–214. http://dx.doi.org/10.1108/arla-09-2015-0264.

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Purpose The purpose of this paper is to investigate the behavioural competencies of directors and managers working for cultural organizations and their relationship with organizational performance. Design/methodology/approach The study adopts an ESC competency modelling process and the technique of the Behavioural Event Interview as the primary source of data collection. In particular, the authors interviewed 14 directors and managers of six performing arts organizations operating in Emilia-Romagna, a region located in Northern Italy. Findings Findings show that directors and managers of cultural organizations are characterized by a specific set of social and emotional (e.g. persuasion and empathy), whereas cognitive competencies, such as quantitative analysis, are less frequent. Findings highlight also that a balanced portfolio of behavioural competencies emerges as importantly correlated with high organizational performance. Practical implications Findings offer relevant managerial implications for the design and implementation of a coherent set of human resource management practices, which allow cultural organizations to reach above-average performance. Originality/value This study contributes to a better understanding of the relationship between managerial competencies and the performance of cultural organizations, taking into account specific kinds of competencies – namely, behavioural competencies – which have been neglected by the previous literature.

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27

Żurowski, Andrzej, and Piotr Kuhiwzak. "Old and New in the Polish Theatre: a Season at the Stary." New Theatre Quarterly 3, no. 10 (May 1987): 178–83. http://dx.doi.org/10.1017/s0266464x00008666.

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The Stary Theatre in Cracow has. since the death of its former director Konrad Swinarski, enjoyed a reputation for more eclectic work than those Polish theatres identified with a single, strong directorial ‘line’. Its recent season nevertheless reveals that this ‘old’ playhouse, as its name translates, remains in the vanguard of new and experimental work, with three productions of contrasting styles but shared stature – Wajda's Crime and Punishment. Pasolini's Affabulazione. and Bradecki's A Pattern of Metaphysical Evidence. The leading Polish critic Andrzej Żurowski. who is also vice-president of the International Association of Theatre Critics, provides an evocative comparison of plays, directors, and styles.

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Pasquaré, Andrea. "Giusti y la revista Nosotros (1912-1930): crítica, política e intervenciones literarias en la formación del campo cultural argentino." Revista Eletrônica da ANPHLAC, no. 12 (December 4, 2012): 112–42. http://dx.doi.org/10.46752/anphlac.12.2012.1333.

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Alfredo A. Bianchi y Roberto F. Giusti, dos jóvenes de origen inmigrante, estudiantes de la Facultad de Filosofía y Letras y amigos entre sí, fundaron en 1907 la revista Nosotros. Revista mensual de Letras, Arte, Historia, Filosofía y Ciencias Sociales, con el propósito principal de promover las artes y las ciencias. Esta revista, que logró perdurar hasta 1943, no abandonará su propósito de constituir una empresa editorial, y se mostraría abierta a amigos y enemigos, ajena de todo partidismo y a favor del arte independiente.Esta revista argentina sin embargo, tuvo que interrumpir su tirada tres años después de su fundación. Su corta primera etapa debió sortear infinidad de carencias y dificultades que con su reapertura en 1912, sus directores se propusieron superar con la creación de una Sociedad Anónima Cooperativa dirigida por Rafael Obligado. Esto les permitió constituirse con personería legal, asegurarse el destino de las subvenciones y controlar los ingresos de las ventas de ejemplares: solucionar de ese modo el “sostenimiento material”, les permitiría continuar una obra de duradera como “órgano de cultura y hermanamiento intelectual”. En las próximas décadas, la revista recién reabierta no abandonaría su propósito de constituir una empresa editorial, y se mostraría abierta a amigos y enemigos, ajena de todo partidismo y a favor del arte independiente.Su interés en fijar la organización de un campo intelectual todavía incipiente con el descubrimiento y promoción de nuevos talentos, y a la vez acompañar la profesionalización del escritor que se iba produciendo a la par, colocaba en un lugar principal la tarea del crítico. Esa función racionalizada, regulada y justificada por sus propios directores, será desplegada por la revista Nosotros para distinguir una tradición literaria no sólo nacional sino también continental bajo el genérico de “modernismo americano”.

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29

Raizman, David. "Director’s Letter." Art Journal 78, no. 3 (July 3, 2019): 4. http://dx.doi.org/10.1080/00043249.2019.1655321.

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Raizman, David. "Director’s Letter." Art Journal 78, no. 4 (October 2, 2019): 4. http://dx.doi.org/10.1080/00043249.2019.1684102.

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31

Omogbai, Meme. "Director's Letter." Art Journal 79, no. 2 (April 2, 2020): 4. http://dx.doi.org/10.1080/00043249.2020.1765570.

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32

Omogbai, Meme. "Director's Letter." Art Journal 79, no. 3 (July 2, 2020): 5. http://dx.doi.org/10.1080/00043249.2020.1801085.

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33

Omogbai, Meme. "Director’s Letter." Art Journal 79, no. 4 (October 1, 2020): 4. http://dx.doi.org/10.1080/00043249.2020.1846981.

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Omogbai, Meme. "Director’s Letter." Art Journal 80, no. 1 (January 2, 2021): 4. http://dx.doi.org/10.1080/00043249.2021.1889305.

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35

Omogbai, Meme. "Director’s Letter." Art Journal 80, no. 2 (April 3, 2021): 4. http://dx.doi.org/10.1080/00043249.2021.1930390.

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36

Omogbai, Meme. "Director's Letter." Art Journal 80, no. 3 (July 3, 2021): 4. http://dx.doi.org/10.1080/00043249.2021.1966272.

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37

Portnova, Tatiana. "Dance in the system of contemporary integrative Art Studies." SHS Web of Conferences 55 (2018): 03007. http://dx.doi.org/10.1051/shsconf/20185503007.

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The paper considers innovative models of interaction between art courses in the format of their comprehensive study on the basis of the new author’s program “Ballet and synthesis of plastic arts,” created for the direction “Choreographic Art” of various profiles (direction of Ballet Theater, Pedagogy of Choreography, Performing Arts). The conceptual approaches outlined in the program, based on interdisciplinary contacts of related arts, make it possible to include it in the professional cycle of Master’s programs and additional training at universities and other organizations that carry out educational activities, as well as in the system of retraining directors of theaters in the transition to modern design technologies.

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McDuffie, Frederic C. "Arthritis foundation Medical Director's page." Arthritis Care & Research 1, no. 1 (March 1988): 61–63. http://dx.doi.org/10.1002/art.1790010115.

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39

Goode, Matthew L. "The Role of Faculty Study Abroad Directors: A Case Study." Frontiers: The Interdisciplinary Journal of Study Abroad 15, no. 1 (December 19, 2007): 149–72. http://dx.doi.org/10.36366/frontiers.v15i1.224.

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This study explores the issues facing study abroad faculty directors at one undergraduate, liberal arts college in the United States; referred to in this article as North American College. This particular college was selected because it had been successful at recruiting its students for study abroad programs: 70% of the graduating class of 2005 studied abroad at some time during their years at NAC.

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Saivetz, Deborah. "‘What Counts is the Landscape’: the Making of Pino DiBuduo's ‘Invisible Cities’." New Theatre Quarterly 16, no. 1 (February 2000): 50–64. http://dx.doi.org/10.1017/s0266464x00013452.

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In October 1998 the Italian director Pino DiBuduo visited the Newark, New Jersey, campus of Rutgers University on the occasion of the major international conference, ‘Arts Transforming the Urban Environment’ For the occasion, he transformed a bleakly concrete teaching block on the Newark campus into a site for the latest of his Invisible Cities projects. These had originated in his Teatro Potlach company's residency in the Italian village of Fara Sabina in 1991, where DiBudo's intention – as in a number of site-specific variations on Invisible Cities since – was to render ‘visible’ aspects of the everyday urban environment which we no longer have the imagination or the patience to ‘see’. While Deborah Saivetz looks also at this original Italian project, and at a later version in Klagenfurt, Austria, she concentrates here on the Newark production, whose development she recorded – in this opening article in her own and DiBuduo's words, and in the following piece through the experiences and recollections of the participants. Deborah Saivetz holds a doctorate in Performance Studies from Northwestern University, and is currently Assistant Professor of Theater in the Department of Visual and Performing Arts at the Newark campus of Rutgers University. Her directorial work includes productions for the New Jersey Shakespeare Festival, the Drama League of New York's Directors’ Project, New York's Alchemy Courthouse Theater, and the Parallax Theater Company in Chicago. She has also worked with JoAnne Akalaitis as assistant director on John Ford's ‘Tis Pity She's a Whore at Chicago's Goodman Theatre, and created original theatre pieces with Chicago's Industrial Theater and Oxygen Jukebox.

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Gilbert, Julie. "Heroes and Holidays: The Status of Diversity Initiatives at Liberal Arts College Libraries." College & Research Libraries 77, no. 4 (July 1, 2016): 520–35. http://dx.doi.org/10.5860/crl.77.4.520.

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Studies about diversity initiatives in academic libraries have primarily focused on large research libraries. But what kinds of diversity work occur at smaller libraries? This study examines the status of diversity initiatives, especially those aimed at students, at national liberal arts college libraries. Results from a survey of library directors reveal that, while diversity programming happens informally at most libraries, and while diversity is valued by library directors, diversity work has not been prioritized at the organizational level in any systematic manner.

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42

Baybrook, Loren P. Q. "Director's Introduction." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 2 (2007): 5. http://dx.doi.org/10.1353/flm.2007.0043.

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43

Linden, Anna L. "Chekhov Vs. Gor'Kii and the Moscow Arts Theater." Russian History 18, no. 1-4 (1991): 501–28. http://dx.doi.org/10.1163/187633191x00182.

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AbstractFor most of the twentieth century readers have been wondering how the version of A. P. Chekhov's famous play The Cherry Orchard could be subtitled "A Comedy." Unknown until now is the fact that Chekhov's manuscript was rewritten by the directors of the Moscow Arts Theater for a combination of political, aesthetic, and commercial reasons. This has been unknown until now because A. M. Gor'kii simultaneously wrote a competing play The Summer-Tenants which failed almost completely. Out of loyalty to Gor'kii's memory, Soviet scholarship for over seven decades concealed the true story of The Cherry Orchard.

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Rossi, Ignacio Andrés. "Un estado del arte de la historiografía económica argentina." Sociohistórica, no. 47 (March 1, 2021): e134. http://dx.doi.org/10.24215/18521606e134.

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45

Constantinidis, Stratos E. "Rehearsal as a Subsystem: Transactional Analysis and Role Research." New Theatre Quarterly 4, no. 13 (February 1988): 64–76. http://dx.doi.org/10.1017/s0266464x0000258x.

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What happens during a rehearsal? How are actors' expectations and achievements affected by different directorial approaches, and how do the various ‘systems’ of acting fit with the responses of an audience? From Diderot through Stanislavski. Brecht. and Artaud to the work of such modern experimental directors as Brook, Grotowski, Chaikin, and Schechner, the theory may or may not be adequately tested against the practice. The author of two earlier, complementary studies in empirical theatre research – ‘Feedback as a Subsystem’ and ‘Prompt–Copy as a Subsystem’, both published inKodikas/Code: Ars Semeiotica(1984 and 1987) – Stratos E. Constantinidis here checks several normative fallacies which have influenced theatre practice by relating the findings of empirical research in theatre to the experimental work of theatre artists. The author, who has previously worked in the Universities of Iowa and Arizona, presently teaches theory and criticism in the Department of Theatre at Ohio State University.

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Hinton, Peter. "Director’s Notes." University of Toronto Quarterly 87, no. 4 (October 2018): 37–38. http://dx.doi.org/10.3138/utq.87.4.05.

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47

Sukmayadi, Yudi, and Juju Masunah. "Organizing Bandung Isola Performing Arts Festival (BIPAF) As A Market of Innovative Performing Arts in Indonesia." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 47–57. http://dx.doi.org/10.15294/harmonia.v20i1.24380.

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The purpose of this article is to discuss a festival model which promotes innovative performing arts in Indonesia. This qualitative approach used a project-based research method. The procedure of this research began with diagnosing the problems, making plan to conduct the festival in Bandung, conducting the festival, and evaluation. Data were collected by participation observation, interview, study of documentation, focused group discussion, and personal reflection. The findings of this research showed that Bandung Isola Performing Arts Festival (BIPAF) is a festival model as a form of market for innovative performing arts. The activities of BIPAF began with selecting/curating the performing artworks, holding art incubation, making promotion, show casing and pitching, as well as discussion and evaluation. BIPAF organizer designed a meeting within choreographers/producers and festival directors, curators and promotors of performing arts in Villa Isola outdoor stage in Universiatas Pendididkan Indonesia. This meeting was followed up by performing some pieces from BIPAF in the stage of SIPA and IMF Surakarta, and Korean Festival in South Korea. This festival contains a strategy value to develop creative industry sub sector of performing arts in Indonesia.

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48

Bergstrom, Janet. "Introduction:Producers and Directors." Film History: An International Journal 21, no. 3 (September 2009): 187–88. http://dx.doi.org/10.2979/fil.2009.21.3.187.

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Strzelec, Rebecca. "Director's Statement." Leonardo 42, no. 4 (August 2009): 295. http://dx.doi.org/10.1162/leon.2009.42.4.295.

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Kruger, Loren, David Bradby, and David Williams. "Directors' Theatre." Theatre Journal 41, no. 3 (October 1989): 414. http://dx.doi.org/10.2307/3208197.

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