Academic literature on the topic 'Camée de Nancy'

Woolf, Virginia. "16." In To The Lighthouse, edited by David Bradshaw. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199536610.003.00018.

Link, Dorothea. "Nancy Storace’s Exuberant Year, 1786–87." In The Italian Opera Singers in Mozart's Vienna. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044649.003.0007.

Black, Robert M. Walker Jay. "Terri Schiavo and Televised News: Fact or Fiction?" In The Case of Terri Schiavo. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195399080.003.0010.

Sorell, Tom. "On Saying No to History of Philosophy." In Analytic Philosophy and History of Philosophy. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199278992.003.0004.

Link, Dorothea. "Luisa Laschi: The Year of the Three Prime Donne, 1788–89." In The Italian Opera Singers in Mozart's Vienna. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044649.003.0009.

Kampen, Thomas. "Left in limbo: social assistance recipients’ evolving views on the fairness of workfare volunteerism." In Welfare to Work in Contemporary European Welfare States. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447340010.003.0011.

Gottlieb, Julie V. "Modes and models of Conservative women’s leadership in the 1930s." In Rethinking Right-Wing Women. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784994389.003.0006.

Kildea, Paul. "Three Premieres (1954)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0041.

"In commercial terms, Working Title Films, the production company that Tim Bevan helped found and co-chairs, is the most successful UK outt of its generation. From Bridget Jones’s Diary (2001) to Four Weddings and a Funeral (1994), Notting Hill (1999), and Love Actually (2003), from Nanny McPhee (2005), and Bean (1997) to Atonement (2007), and Shaun of the Dead (2004), their lms have made hundreds of millions of dollars. Working Title Films has also been instrumental in creating British stars (Hugh Grant, Keira Knightley) and in talent-spotting writers and directors (Richard Curtis, Joe Wright). Bevan entered the British lm industry via the world of pop promos in the 1980s. Working Title was formed in 1983. The company’s breakthrough came when he and Sarah Radclyffe (his original partner in the company) produced My Beautiful Laundrette (1985). When Michael Kuhn set up PolyGram Filmed Entertainment (PFE) in 1991 with the ambition of creating a European-based “studio” with the reach and distribution repower of a Hollywood major, he looked to invest in Working Title Films. At this point, Radclyffe stepped aside and Bevan’s current business partner Eric Fellner came on board. Under Bevan and Fellner, Working Title Films quickly blossomed. Both producers targeted the international market. The success of Four Weddings and a Funeral was followed by a string of hits. At the same time, they worked with the Coen brothers on lms such as Fargo (1996) and The Big Lebowski (1998), while also overseeing low-budget British successes such as Billy Elliot (2000). When PFE was closed down in 1999, Working Title came under the ownership of Universal, however, Bevan and his team retain extraordinary autonomy. Universal trusted the company to greenlight their own movies up to a reported budget of $35 million. The Working Title lmography is very varied. Spy thrillers, zombie comedies, period dramas, and kids’ movies sit alongside the romantic comedies that have been their biggest successes. In early 2012, when this interview was conducted, Working Title’s slate was as full and varied as ever, wrapping up Anna Karenina, preparing Les Misérables, discussing a new Bridget Jones, and working full throttle on Ron Howard’s Formula One racing movie, Rush." In FilmCraft: Producing. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-4.

"women services, preventive services and mental health services, than any other type of center" (Weisman et al., 1995 p. 108). They offered programs including menopause counseling, hormone replacement therapy and diagnosis and treatment of menstrual problems. Repro-ductive health centers provided for more gynecological exams, preg-nancy tests and contraceptive services. Compared to primary centers, reproductive health centers provided less general exams and offered fewer preventive services like blood pressure monitoring and immu-nizations. Along with the emergence of hospital sponsored programs of the 1980's came the creation of breast centers. Some diagnostic type breast centers offered only screenings and imaging services while others were comprehensive centers providing for screening along with diagnosis and treatment. Breast centers were found to offer more breast care services than other types of women's centers but again the range of services offered from one center to another was vastly differ-ent; 95% of breast centers offered diagnostic mammography, and 93% also provided self-breast exam instruction. Also 71% provided for biopsies and ultrasound and 37% provided for breast cancer treatment. Other women centers were found to be a mix of models; some education, some referral services, some independent support groups and some that also provided minimal clinical services. Many offered inpatient units for obstetrics and gynecology and outpatient services for breast screening. Education and information services were found to be an important component of the women's centers offerings. Many provided support groups as well as community agency referrals. Childbirth education classes, baby and you classes and exercise and diet classes usually were provided for an extra fee. Implications to Marketing The survey found many hospitals marketed their services to women because they perceived them as major consumers of health care and as referral sources for their families' health. Hence, a primary purpose was to increase hospital use and, therefore, revenue. Hospitals were and still are being innovative in their use of space. These hospital owned women's centers tended to be considerably market-oriented. They offered the opportunity to provide both a therapeutic milieu tailored to women and access to the resources of the larger institution. They appear to be a viable option for women and for the hospital." In Family Systems/Family Therapy. Routledge, 2013. http://dx.doi.org/10.4324/9780203725184-4.