Currently, one of the methodological debates in linguistics focuses on the question of what kinds of data are allowed in different linguistic theories and what subtypes of data can work as evidence for or against particular hypotheses. The first part of the volume puts forward a methodological framework called the ‘p-model’ that is expected to account for the data/evidence problem in linguistics. The aim of the case studies in the second part is to show how this framework can be applied to the everyday research practice of the working linguist, and how it can increase the effectiveness of linguistic theorising. Accordingly, the case studies exemplify that the p-model can come to grips with diverse object-scientific quandaries in syntax, semantics and pragmatics. The third part includes case studies that illustrate how it copes with metascientific issues such as inconsistency in linguistic theories and the relationship between thought experiments and real experiments.
That is, the experiential data have to be described with the help of the conceptual
apparatus of the theory. As a result, thought experimental data24 are obtained.
With Searle's thought experiment, hypothesis (7) is, for instance, a consequence
...
Cara menghitungnya, laba bersih perusahaan dibagi dengan jumlah seluruh
saham. eco-labelling Label hijau berwawasan lingkungan, atau tanda yang
diletakkan pada produk-produk tertentu dalam perdagangan internasional, yang
menyatakan bahwa pembuatan produk tersebut tidak menimbulkan kerusakan
terhadap lingkungan. Isu eco-labelling ini menyeruak ke permukaan sebagai
jawaban atas tuduhan masyarakat negara maju tentang perusakan lingkungan
global yang ...
Acting Together volume II continues where the first volume left off, presenting more inspiring examples of peacebuilding performances in conflict-ridden regions. Where the first volume emphasizes theater and ritual's potential for resistance and catharsis in the midst of direct violence and in the aftermath of mass violence, the second volume focuses on performance's ability to bridge gaps and create inclusion in the more subtle context of structural violence and social exclusion. Drawing examples from the Americas, Africa, Asia, and Europe, this volume also includes practical recommendations for policy makers, a toolkit for practitioners, and a wealth of resources for artists and educators.
... embody power to transform violent conflict, 191–192 Acting Together on the
World Stage (documentary): guidelines for discussion following, 201; questions
asked following, 205–213 Acting Together on the World Stage questions: on
ethics, ...
Stanislavski was the first to outline a systematic approach for using our experience, imagination and observation to create truthful acting. 150 years after his birth, his approach is more widely embraced and taught throughout the world ? but is still often rejected, misunderstood and misapplied. In Acting Stanislavski, John Gillett offers a clear, accessible and comprehensive account of the Stanislavski approach, from the actor's training to final performance, exploring: ? ease and focus ? the nature of action, interaction and objectives ? the imaginary reality, senses and feeling ? active analysis of text ? physical and vocal expression of character ? the actor in the context of training and the industry. Drawing on Stanislavski's major books, in both English translations, and on records of his directing process and final studio classes, Acting Stanislavski demystifies terms and concepts. It is for actors from an actor's point of view, and offers many practical exercises and examples as an integrated part of each subject. Acting Stanislavski also creates an up-to-date overview of the Stanislavski approach, connecting his legacy with the work of his successors, from Michael Chekhov to Meisner, Adler and Strasberg. A new, extended and fully updated edition of Acting on Impulse: Reclaiming the Stanislavski Approach (Methuen Drama, 2007), Acting Stanislavski now includes new exercises and biographies, a further chapter on The Character, and an expanded glossary along with many other additions to the previous chapters. It is an essential practical and educational resource for any acting student, professional or teacher.
ACTING. ETHICS. 'Love. the. art. in. yourself,. not. yourself. in. art'. (AN ACTOR'S
WORK: 558) Actors are not respected like opera singers, ballet dancers,
musicians, painters or photographers. Whereas all these are assumed to have
skill and ...
Creative companies are distinguished by their ability to adapt and thrive in a dynamic, changing economy. Their products and services stand out in the market, and these companies’ ability to be agile and innovative is key to their success. Creative, Efficient, and Effective Project Management supplies an in-depth discussion of creativity and its relationship to project management. Specifically, it explains how the tools and techniques of creativity can be used to enhance the five processes executed during a project: defining, planning, executing, monitoring and controlling, and closing. Establishing the groundwork for encouraging and sustaining creativity in your projects, the book details the benefits of integrating creativity in projects. It discusses common, and not so common, tools and techniques for developing project management deliverables and identifies the challenges that can arise when using creativity in a project. It also details ten little-known facts that can help you overcome the obstacles that often prevent organizations from tapping into the power of creativity in their projects. Each chapter includes a checklist and a case study on the application of the concepts presented. The book also indicates, where applicable, how the topics of discussion relate to the Project Management Institute's (PMI®) Project Management Body of Knowledge (PMBOK®). Creativity resides in everyone, but for the most part remains untapped. In this book, you will find thoughts, tools, and techniques that will enable you to tap into your team’s creative energy and direct it towards achieving your project goals and objectives.
... of certain stakeholders to determine receptivity to a project when seeking
project charter acceptance Subscribing to a big-picture perspective about a
project, e.g., relationship of a project relative to other projects in a portfolio Using
both logic ...
Aiding the women of Brooklyn in her basement bra shop, Sima Goldner teaches her clients to appreciate their bodies but hides a secret shame about her infertility, loveless marriage, and unhappy past. 17,500 first printing.
Gorgeous, feel-good debut of one woman's journey from rags to bitches... When Jo Hill lands a job as a PA at GLOSS magazine, she thinks it's the job of her dreams. But it soon turns into a nightmare. As a mousy secretary with a penchant for giant bags of Maltesers and comfy shoes, Jo doesn't exactly fit in at the uber-chic office. Her boss humiliates her; her colleagues bitch about her; even the receptionist ignores her. At first, Jo's not sure why - is it her hair, her figure, her clothes? Then she realises it's pretty much all of the above and that she'll never be like the sleek, glamorous girls flitting round the office in their Sass & Bide jeans and Gucci mules. Or will she? Jo might be overweight and overlooked, but she's different in other ways too. She's bright, ambitious and smart, and what's more, she has a plan. Reduced to tears for the umpteenth time by her boss - the gorgeous but vicious magazine publisher Joshua Garnet - Jo knows it's time for drastic action. She's had it with magazines and knows that 'discovering a whole new you' takes more than a manicure and a new MAC blusher. Jo's going to give herself the ultimate makeover and by the time she's finished, the magazine world - and Joshua - won't know what's hit them. Goodbye Jo, hello Mia - magazine diva extraordinaire.
At the very least she'd get a tan from spending somuch time outside,and
everyone knewthat tans were slimming. Jo sighed and couldn't bearto let Amelia
down.'OK, then. But give me a few days to relax,first – there's no way I'mgoing to
try ...
"This book will provoke intellectually, ideologically, and emotionally loaded responses in the U.S., Germany, and Israel. Barnouw's critique of the 'enduringly narrow post-Holocaust perspective on German guilt and the ensuing fixation on German remorse' questions taboos that the political and cultural elites in those three countries would rather leave alone.... [Barnouw] makes us understand why the maintenance of a privileged memory of the Nazi period and World War II may not survive much longer." -- Manfred Henningsen, University of Hawai'i In Germany, the reemergence of memories of wartime suffering is being met with intense public debate. In the United States, the recent translation and publication of Crabwalk by GÃ1⁄4nter Grass and The Natural History of Destruction by W. G. Sebald offer evidence that these submerged memories are surfacing. Taking account of these developments, Barnouw examines this debate about the validity and importance of German memories of war and the events that have occasioned it. Steering her path between the notions of "victim" and "perpetrator," Barnouw seeks a place where acknowledgment of both the horror of Auschwitz and the suffering of the non-Jewish Germans can, together, create a more complete historical remembrance for postwar generations.
The hugely successful representation of Jewish persecution during the fifties, the
play and the movie based on the diary of Anne Frank, shared in and contributed
to this universalism. Later the Hacketts' much praised adaptations of the diary for
...
Action-oriented, project-based self-study guide to the essentials of MySQL.
Action-oriented, project-based self-study guide to the essentials of MySQL.
