|
Showing 1 - 5 of
5 matches in All Departments
This book looks at what drives effective management of
public-private partnerships (PPPs). It examines widely cited
Singaporean cases pertaining to successful PPPs as well as those in
failure (and subsequently contracted back in the public-sector
provision) in diverse areas of public service, such as water
services, educational services, trade and logistical data services,
residential services, acquisition and maintenance of military
systems, research and development services, infrastructure, and
sport services. The book begins each case with an overview (e.g.,
project goals (motivators), types of PPPs, stakeholders, time
period, assigned budget, and capital planning) and then
specifically discusses critical success factors and/or risk factors
pertaining to the decisions to proceed with ongoing PPPs or to
return to self-operation (in-house public production) of services
later, respectively. The book concludes with a discussion of
lessons learned from Singaporean cases and contexts of PPPs and
suggests more feasible strategies and conditions toward successful
collaborative governance between public agencies and private
counterparts for the new century. This book will appeal especially
to public policymakers.
This book looks at what drives effective management of
public-private partnerships (PPPs). It examines widely cited
Singaporean cases pertaining to successful PPPs as well as those in
failure (and subsequently contracted back in the public-sector
provision) in diverse areas of public service, such as water
services, educational services, trade and logistical data services,
residential services, acquisition and maintenance of military
systems, research and development services, infrastructure, and
sport services. The book begins each case with an overview (e.g.,
project goals (motivators), types of PPPs, stakeholders, time
period, assigned budget, and capital planning) and then
specifically discusses critical success factors and/or risk factors
pertaining to the decisions to proceed with ongoing PPPs or to
return to self-operation (in-house public production) of services
later, respectively. The book concludes with a discussion of
lessons learned from Singaporean cases and contexts of PPPs and
suggests more feasible strategies and conditions toward successful
collaborative governance between public agencies and private
counterparts for the new century. This book will appeal especially
to public policymakers.
Ralph S. Steenblik is best known as a designer, curator, and
thinker. In Convergence: Work For a New Time, Steenblik presents a
selection of outstanding and visionary work exploring interactive,
parametric, and dynamic architecture. Through this exploration, he
blurs the line between architecture and user experience (UX). This
work contains architectural projects, photos and sketches, as well
as brief critical essays on contemporary architecture and society.
The projects and articles display a rare passion and creativity, as
well as a refreshing genuinity. It is clear that these works matter
to the author/designer. Further, Steenblik both strengthens his
ideas and articulates his process using the important method,
cinematics. Many projects are marked by a series of frames,
effectively expressing a narrative. This method also highlights the
crucial connection between film and architecture. Readers should
also notice Steenblik's emphasis on the 21st Century topics:
choreography, intelligent displacement, and synchronized
simultaneity. All in all, Convergence is a refreshing overture on
contemporary and progressive architecture. -Rachel Hunt, Philosophy
Librarian, CGU
The emergence of modernity has typically focused on Western male
actors and privileged politics and economy over culture. The
contributors to this volume successfully unsettle such perspectives
by emphasizing the social history, artistic practices, and symbolic
meanings of female performers in popular music of Asia. Women
surfaced as popular icons in different guises in different Asian
countries through different routes of circulation. Often, these
women established prominent careers within colonial conditions,
which saw Asian societies in rapid transition and the vernacular
and familiar articulated with the novel and the foreign. These
female performers were not merely symbols of times that were
rapidly changing. Nor were they simply the personification of
global historical changes. Female entertainers, positioned at the
margins of intersecting fields of activities, created something
hitherto unknown: they were artistic pioneers of new music, new
cinema, new forms of dance and theater, and new behavior,
lifestyles, and morals. They were active agents in the creation of
local performance cultures, of a newly emerging mass culture, and
the rise of a region-wide and globally oriented entertainment
industry. Vamping the Stage is the first book-length study of
women, modernity, and popular music in Asia, showcasing
cutting-edge research conducted by scholars whose methods and
perspectives draw from such diverse fields as anthropology, Asian
studies, cultural studies, ethnomusicology, and film studies. Led
by an impressive introduction written by Weintraub and Barendregt,
fourteen contributors analyze the many ways that women performers
supported, challenged, and transgressed representations of existing
gendered norms in the entertainment industries of China, Japan,
India, Indonesia, Iran, Korea, Malaysia, and the Philippines.
Placing women’s voices in social and historical contexts, the
essays explore salient discourses, representations, meanings, and
politics of “voice” in Asian popular music. Historicizing the
artistic sounds, lyrical texts, and visual images of female
performers, the essays reveal how women used popular music to shape
the ideas, practices, and meanings of modernity in various Asian
contexts and time frames. The ascendency of women as performers
paralleled, and in some cases generated, developments in wider
society such as suffrage, social and sexual liberation, women as
business entrepreneurs and independent income earners, and
particularly as models for new life styles. Women’s voices,
mediated through new technologies of film and the phonograph,
changed the soundscape of global popular music and resonate today
in all spheres of modern life.
The emergence of modernity has typically focused on Western male
actors and privileged politics and economy over culture. The
contributors to this volume successfully unsettle such perspectives
by emphasizing the social history, artistic practices, and symbolic
meanings of female performers in popular music of Asia. Women
surfaced as popular icons in different guises in different Asian
countries through different routes of circulation. Often, these
women established prominent careers within colonial conditions,
which saw Asian societies in rapid transition and the vernacular
and familiar articulated with the novel and the foreign. These
female performers were not merely symbols of times that were
rapidly changing. Nor were they simply the personification of
global historical changes. Female entertainers, positioned at the
margins of intersecting fields of activities, created something
hitherto unknown: they were artistic pioneers of new music, new
cinema, new forms of dance and theater, and new behavior,
lifestyles, and morals. They were active agents in the creation of
local performance cultures, of a newly emerging mass culture, and
the rise of a region-wide and globally oriented entertainment
industry. Vamping the Stage is the first book-length study of
women, modernity, and popular music in Asia, showcasing
cutting-edge research conducted by scholars whose methods and
perspectives draw from such diverse fields as anthropology, Asian
studies, cultural studies, ethnomusicology, and film studies. Led
by an impressive introduction written by Weintraub and Barendregt,
fourteen contributors analyze the many ways that women performers
supported, challenged, and transgressed representations of existing
gendered norms in the entertainment industries of China, Japan,
India, Indonesia, Iran, Korea, Malaysia, and the Philippines.
Placing women's voices in social and historical contexts, the
essays explore salient discourses, representations, meanings, and
politics of "voice" in Asian popular music. Historicizing the
artistic sounds, lyrical texts, and visual images of female
performers, the essays reveal how women used popular music to shape
the ideas, practices, and meanings of modernity in various Asian
contexts and time frames. The ascendency of women as performers
paralleled, and in some cases generated, developments in wider
society such as suffrage, social and sexual liberation, women as
business entrepreneurs and independent income earners, and
particularly as models for new life styles. Women's voices,
mediated through new technologies of film and the phonograph,
changed the soundscape of global popular music and resonate today
in all spheres of modern life.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|