In the context of the financial and economic crisis, corporate governance and regulatory supervision failures are at the centre of public debates. Who controls the modern corporation, and why, has become one of the defining social power relations in contemporary capitalism. Regulation Corporate Governance in the EU fills a gap in the extensive literature on corporate governance and highlights the political nature of EU corporate governance regulation. Laura Horn advances a critical political economy perspective focusing in particular on political struggles and processes of the neoliberal transformation of company law and corporate governance regulation. Her findings about the marketization of corporate control are at the core to a better understanding of the broader context of capitalist restructuring in the European Union.

Introduction to Management, Fourth Edition is an ideal text for students studying management for the first time, whether at undergraduate or postgraduate level. Covering all of the functional areas of management, it provides a framework for students to understand the inter-relatedness of the different aspects of management and how they fit together in an organization. The new edition is updated to cover new developments in the field and includes new chapters on innovation, enterprise, risk management, ethics, and responsibility. Companion Website: http: //www.palgrave.com/business/pettinger4/

One of the most important American playwrights of the 20th century, Maxwell Anderson won a Pulitzer Prize for "Both Your Houses" (1933), and New York Drama Critics Circle awards for "Winterset" (1935) and "High Tor" (1936). Though he believed that poetry was the glory of drama, he also devoted himself to realism. His crowning achievement was "Winterset," in which he popularized the use of blank verse in contemporary drama. During a career that spanned more than a quarter century, he wrote 33 plays, many of which were produced in European capitals and were translated into more than a dozen languages.

As a comprehensive guide to Anderson's career, this reference book is an indispensable volume for anyone interested in American drama. An introductory essay discusses Anderson's life and work. The bulk of the text provides synopses and critical overviews of his plays, a feature useful to readers unacquainted with his works. Also included is cast information for major productions. Annotated bibliographies cover primary sources, as well as books, chapters, and articles about Anderson. A separate bibliography cites and annotates reviews of performances.

Widely acclaimed as one of America's most distinguished female playwrights, Lillian Hellman made an entrance into a largely male-dominated field in 1934 with" The Children's Hour," a drama that rocked the literary establishment with its frank treatment of lesbianism while calling attention to her writing talents. Written between 1934 and 1963, Hellman's dramatic canon includes eight original plays and four adaptations. Two of these, "Watch on the Rhine" (1941) and "Toys in the Attic" (1960), received Drama Critics' Circle Awards. In addition to her dramatic activities, she wrote three memoirs and a novella, contributed articles to national magazines, edited ChekoV's letters and Dashiell Hammett's mysteries, and penned several screenplays. She is probably best known for "The Little Foxes" (1939), her drama about a family of predatory entrepreneurs who seek to build an industrial fortune on the ruins of the old South.

Both a quick reference guide and an exhaustive resource, this volume provides broad and thorough coverage of Hellman's dramatic career. It begins with a critical overview of her life, along with a chronology of her accomplishments. The bulk of the book, which treats her eight original plays and four adaptations, all written for the Broadway stage, provides detailed plot summaries, stage histories, and critical overviews. The next section offers an annotated bibliography of primary sources. This is followed by an annotated secondary bibliography, which is divided into sections on reviews, books, and articles. Entries in the bibliographies are first arranged chronologically and then alphabetically, so that the reader can gain a fuller sense of the development of Hellman's career and the response to her works over time. Detailed indexes conclude the volume and offer full alphabetical access to its contents.

A reflection and symbol of the turbulent 1960s and the culture and lifestyles of the Hippies, Hair made history as the first rock musical on Broadway and one of the most successful musicals. The sixties left an indelible imprint upon the American psyche, and Hair, in the words of critic Clive Barnes, "summed it up better than any other piece of American theatre." Aside from bringing experimental techniques and rock music to Broadway, Hair, in author Barbara Horn's view, represented a major step in the evolution of the "concept musical" from the "book musical" and was the first concept musical to reach mass audiences, an achievement unheralded and little recognized. Horn analyzes the social context of Hair and the Hippies, describes the tenor of the Broadway theatre of the times and the experimental trends Off-Broadway that culminated in Hair's innovations on the Great White Way. She then goes on to relate the dramatic story of Hair's creation and growth, dash myths and clarify the actual events, including the casual meeting of coauthors Gerome Ragni and James Rado with producer Joseph Papp on a train. The transfer of Hair to Broadway is fully detailed, and the Broadway production is compared with the earlier production at Papp's Public Theater with lists of song sequences provided. Several revivals and the film version are also discussed, and staff and cast lists appear as appendixes. Horn's extensive archival research is amplified by insights from numerous interviews, including those with the authors, Ragni and Rado; composer, Galt MacDermot; Broadway producer, Michael Butler, directors, Gerald Freedman and Tom O'Horgan, musical director, Galt MacDermot; set designer, Robin Wagner;lighting designer, Jules Fisher, cast members, Melba Moore and Lorrie Davis; and others associated with one or more of the productions, as well as with theatre critics and theorists. Numerous published works were also connsulted, and a strong bibliography is provided.

This volume documents the life and works of the acclaimed playwright, Edward Albee. His first four plays were all produced Off Broadway from 1960-1961, creating buzz that he was an up-and-coming avant-garde playwright. But his most notable accomplishment came a year later with his first full-length play, Who's Afraid of Virginia Woolf?. His plays were linked with the philosophies of the European absurdists, Beckett and Ionesco, and the American traditional social criticism of Arthur Miller, Tennessee Williams, and Eugene O'Neill. Intended to serve as a quick reference guide and an exhaustive resource, this collection includes play synopses and critical overviews, production histories and credits, and locator suggestions on unpublished archival material and lists of texts/anthologies that have published Albee's material. The two secondary bibliographies contained within are fully annotated chronologically and alphabetically with the year of publication, presenting a fuller sense of Albee's playwriting career.

This study chronicles the life and career of Ellen Stewart and her experimental theater, Cafe La Mama. Once an accomplished Black fashion designer, Stewart--with no experience in theater--founded and developed one of the most influential experimental theaters in the world. The volume includes a short biography, a chronology of the most significant events related to Stewart and La Mama, a record of the more than 1400 plays produced at La Mama, and an annotated bibliography. Appendices list La Mama's Obie awards, awards won by Stewart, and shows directed by Stewart. The volume presents a fascinating account of the physical, emotional, and political conditions surrounding the history of Cafe La Mama, while focusing on a Black American artist who boldly forged a niche in an area previously inaccessible to Black women.

Actress Colleen Dewhurst (1926-1991) is best remembered for her seminal characterizations in the plays of Eugene O'Neill, which highlighted a career on stage, screen, and television that spanned forty years and earned her two Tony awards and four Emmys. Writing about her Broadway triumph as Josie Hogan in A Moon for the Misbegotten (1973), critic Clive Barnes said she spoke O'Neill as if it were being spoken for the first time--and not for the first time in a theater . . . but for the first time in a certain New England farm, on a certain September night in 1923. Though known for her portrayals of tragic heroines, Dewhurst also played comic roles and played Murphy Brown's mother for three seasons in that television series. At her death, she left an indelible mark in American theater, but, curiously, little written commentary beyond reviews and journalistic articles. This study documents her diverse performance and directing careers, with information also on her personal life and her participation in political and philanthropic causes, including two terms as president of Actors' Equity. An extensive productions section provides data on her major and minor roles in all media, including credits, runs, synopses, and review citations. This is supplemented by an annotated bibliography of major reviews and other writings, a list of awards, a biographical study, and a chronology of her life and career, all carefully cross-referenced and indexed. This book adds to the growing number of studies that organize essential resources on performance for effective research use.

Theater critic Jerry Tallmer, remarking on Joseph Papp's death on October 31, 1991, said, He was a guy from Brooklyn who had a passion for Shakespeare and a passion for people. He was able to combine the two like no one else ever did. Barbara Horn, documenting Papp's career, declares it to have been inextricably tied to that of the New York Shakespeare Festival, which Papp founded in 1954, serving as its artistic leader for 37 years, and which survives him. His dream of producing free Shakespeare in the Park was expanded into the largest arts institution in the United States, combining Shakespeare with innovative contemporary theater performed at his nonprofit Public Theater as well as in New York City parks and schools. Papp produced some 450 plays, directing over 40. He nurtured some of the greatest playwriting talents, including Vaclav Havel, David Mamet, David Rabe, David Henry Hwang, John Guare, and Tina Howe, and provided opportunities for fledgling actors, among them George C. Scott, Colleen Dewhurst, James Earl Jones, Al Pacino, Kevin Kline, Raul Julia, Meryl Streep, and William Hurt. Public Theater plays such as Hair, A Chorus Line, and That Championship Season became huge hits on Broadway. Papp's productions, most with the New York Shakespeare Festival, are thoroughly documented, with credits, runs, synopses, and review commentary in this reference guide, which also includes a chronology of Papp's life and career, a biographical sketch, an annotated bibliography of works by and about Papp, and appendixes on film and television credits, related activities, and awards. Indexes of authors of bibliographic works, of playwrights and playtitles, and of production crew and cast complete the work.

Publicity, nerve, and verve made David Merrick possibly the most successful producer in the history of Broadway. Not since the days of David Belasco or Florenz Ziegfeld had the theatre produced such a spectacular producer-star. He was dubbed The Barnum of Broadway or, less flatteringly, The Abominable Showman, and Clive Barnes of the New York Times said he had showmanship running out of his ears. Although he was best known for his musical productions, including Hello Dolly! (1964) and 42nd Street (1980), he produced many nonmusicals as well; Cecil Smith of the Los Angeles Times wrote that he was one of the most sensitive and effective producers of fine dramas in modern Broadway. Merrick's career, tempered by a legal background, is an undisputed testimony to his artistic sensibilities, his razor-edged business acumen, his talent for public relations, and his unrelenting drive. This study chronicles the life and career of one of the last of Broadway's independent producers, David Merrick, who produced eighty-eight plays on Broadway during his professional lifetime. Following a chronology of his career and a biographical sketch, all his plays, plus film productions, are carefully documented with credits, runs, synopses, and review citations. An annotated bibliography includes his own writings and a chronologically organized listing of books and articles about him. An appendix is devoted to major awards given to Merrick, his productions, and other principals and stars involved with them; and a second appendix lists theatre productions that were made into films. Carefully cross-referenced and indexed, the book adds to the growing number of studies that organize essential resources for research and scholarship in American theatre.

Throughout the world, there has been much scholarly and general interest in French popular culture, but very little has been written on the subject in English. The authors of this book address that lack in a series of highly readable and well-documented essays describing French life styles, attitudes, and entertainments as well as the writers and performers currently favored by the French public.

Several chapters explore French tastes in popular literature and other reading matter, including comics, cartoons, mystery and spy fiction, newspapers and magazines, and science fiction. Film, popular music, radio, and television are also discussed in detail, and influences from other cultures--particularly American imports--are assessed. The remaining essays examine French sports, the use of leisure time, the French style of eating and drinking, and relations between men and women and their attitudes toward romantic love. Each chapter provides up-to-date historical and bibliographic information that will enable the reader to pursue subjects of particular interest. Written by an international group of specialists, this handbook offers the benefits of broad coverage, a variety of viewpoints, and solid scholarship.

An ambitious volume that sets out to analyse the nature, contradictions and limits of neoliberal governance in the EU. The analysis covers the changing geopolitical and geo-economic context, the Lisbon agenda and the contestation and mobilization against the European project, such as manifested in the national resistance against the constitution.

In the context of the financial and economic crisis, corporate governance and regulatory supervision failures, Laura Horn investigates one of the defining questions in social power relations in contemporary capitalism: who controls the modern corporation, and why.

In his book, "I Got'Cho Back," Dr. Horn combines research findings with his 20 years of community experience to provide insights and guidance about how to relate with young Black males. Throughout his book, Dr. Horn eloquently provides a historical context for some of the most profound lifespan development issues that impact many young Black males in America. Especially after the recent underpinnings of the Trayvon Martin case, Dr. Horn's manuscript is a significantly relevant tool to assist teachers, therapists, doctors, attorneys, community leaders, and lay people with their work helping underserved communities, particularly in the area of race relations and trauma awareness. In essence, it's an advisory book that provides personal and professional research that directly or indirectly influences the lifespan development of young Black males. Consistent throughout the research, Dr. Horn provides multiple examples of resources that have proven to be effective with young Black males such as, the Black church, extended family members, and specific therapeutic modalities. Most impactful, Dr. Horn's research resurfaces silenced voices of young Black males, as told through the lens of identity development, inadequate education, ineffective parenting, language acquisition, and therapeutic interventions. "I Got'Cho Back" is a stimulating book that allows the reader to delve into the nuances of young Black males' lifespan development issues. As a result of delving into these nuances, the author intends to inspire readers to become more interested in improving relationships with young Black males.

Access to affordable broadband is seen as vital to economic growth and improved quality of life, yet its deployment in rural areas can be costly. The American Recovery and Reinvestment Act of 2009 (Recovery Act) appropriated funding for BIP, a USDA RUS program to fund broadband projects to provide service to end users in mostly rural areas. This book addresses how RUS ensures that projects are completed by the deadline and as approved and the extent to which RUS provides information to show BIP's impact. It also discusses the progress of broadband projects, their effect on expanding access to and adoption of broadband, and any challenges awardees face in completing projects and agency actions to address these challenges.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

The bright side of darkness is a story about a struggling mother and her life journeys that she has had to overcome. Married at early age, finding herself a single mother of five, having to give up her sixth child for adoption, loosing a grandson to cancer and so much more. Through out this book you will learn about her drive, determination, and inspirations. You will walk thru some of her most memorable journeys that have taught her to look on the bright side of darkness.