2014 Reprint of 1952 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. Chekov has recorded the results of his many years of experimenting, testing and verifying in the professional theater and schools of theater. He brings to the actor far greater insight into himself and the character he is to portray, which enables him to approach any role with new ease and skill. Chekhov was told by Stanislawsky to organize his observations and thoughts and present them to his audience. Preface by Yul Brynner. Illustrated by Nicolai Remisoff.
Fifty years after the creation of Factors Chain International (FCI), the worldwide association of 400 factors in 90 countries, this book intends to fill a significant gap: cover a global perspective on the past, present & future of factoring, bringing together excellent historians with the top experts in the field, unifying these specialists around a shared academic and professional approach, producing a single vision of past legacies, current developments and future possibilities. The collaborative Factors & Actors project has been developed and fleshed out step by step. It has never been restricted to any particular region of the world, or any particular context or product. The collective work offered to the reader includes 30 contributions from 37 contributors who, each in their own way, cast a different eye over the birth of the global organization, the origins of such a type of financing, its 50 years of emergence and its future development against a backdrop of ever stricter regulation, compliance and risk management and in an environment of increasing technological innovation. The objective of this project is to increase awareness about a very special financing activity and its numerous virtues supporting the real economy, via both history and geography. Today factoring stands at the crossroads. Ten years after the start of an unprecedented financial crisis, the time is ripe to promote this new form of sound, secure and innovative financing.
This study offers a brief counter-note to the dominant functional analyses of voluntary action present in much of the current civil society discourse. It is argued that a functional approach, while explicating the structure of voluntary action at sector and organisational level, is challenged in offering a sufficient explanation of voluntary action at the level of the individual. Definitional difficulties regarding the volunteer and the voluntary organisation, and the demand-sided emphasis in the presentation of the relationship between organisation and individual are seen as symtomatic of this problem. A paradigmatic barrier to the exploration of the relationship between human agency and voluntary action is argued to lie at the core of the issue. Despite an an increasing body of research into volunteering which draws attention to individual reflexivity, value expression, and a concern with self-enactment, such work is not gathered yet as a coherent and alternative voice. In this study the ´putative agency´ of the individual is placed at the centre of the research proposition so as to examine the subjective experience relative to enagement in voluntary action. An interpretative approach is used for gathering the life-stories of individuals who have contributed significantly to the establishment and development of a variety of Civil Society Organisations. From an analysis of these narratives, a complex and multi-faceted image of the individual as ´voluntary actor´ is proposed. Some of the implications of such an image for our undestanding of the relationship between the individual and voluntary action are examined. Following postgraduate research in History, Andrew O´Regan spent 10 years working in Civil Society Organisations in Ireland before joining the School of Business, Trinity College. He is Programme Director of the Centre for Nonprofit Management there and teaches on undergraduate and postgraduate programmes. His research is concerned primarily with understanding the relationship between individual meaning and social identity, and the functioning of civil society organisations in the creation and enactment of values in society.
Philip Massinger was baptized at St. Thomas´s in Salisbury on November 24th, 1583. Massinger is described in his matriculation entry at St. Alban Hall, Oxford (1602), as the son of a gentleman. His father, who had also been educated there, was a member of parliament, and attached to the household of Henry Herbert, 2nd Earl of Pembroke. The Earl was later seen as a potential patron for Massinger. He left Oxford in 1606 without a degree. His father had died in 1603, and accounts suggest that Massinger was left with no financial support this, together with rumours that he had converted to Catholicism, meant the next stage of his career needed to provide an income. Massinger went to London to make his living as a dramatist, but he is only recorded as author some fifteen years later, when The Virgin Martyr (1621) is given as the work of Massinger and Thomas Dekker. During those early years as a playwright he wrote for the Elizabethan stage entrepreneur, Philip Henslowe. It was a difficult existence. Poverty was always close and there was constant pleading for advance payments on forthcoming works merely to survive. After Henslowe died in 1616 Massinger and John Fletcher began to write primarily for the King´s Men and Massinger would write regularly for them until his death. The tone of the dedications in later plays suggests evidence of his continued poverty. In the preface of The Maid of Honour (1632) he wrote, addressing Sir Francis Foljambe and Sir Thomas Bland: ´´I had not to this time subsisted, but that I was supported by your frequent courtesies and favours.´´ The prologue to The Guardian (1633) refers to two unsuccessful plays and two years of silence, when the author feared he had lost popular favour although, from the little evidence that survives, it also seems he had involved some of his plays with political characters which would have cast shadows upon England´s alliances. Philip Massinger died suddenly at his house near the Globe Theatre on March 17th, 1640. He was buried the next day in the churchyard of St. Saviour´s, Southwark, on March 18th, 1640. In the entry in the parish register he is described as a ´´stranger,´´ which, however, implies nothing more than that he belonged to another parish.
Niklas ist ein heißer; arroganter und verdammt erfolgsverwöhnter Schauspieler – und als Marianne zufällig zu ihm in den Lift steigt, hält er sie für einen aufdringlichen Fan… Aber sie ist nicht der Typ, der sich das gefallen lässt. Sie kann nämlich mindestens so arrogant werden wie Niklas und die Begegnung zwischen den beiden entwickelt sich zu einer Explosion der sexuellen Begierde... ´´The Actor´´ – ist die limitierte Auflage des Bestsellers „Dark Instinct“.
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