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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.
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