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Books on the topic 'Performance art – france'

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Author: Grafiati

Published: 25 July 2024

Last updated: 30 July 2024

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1

Reilly, Diane. The Cistercian Reform and the Art of the Book in Twelfth-Century France. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985940.

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This book is a study of the programmatic oral performance of the written word and its impact on art and text. Communal singing and reading of the Latin texts that formed the core of Christian ritual and belief consumed many hours of the Benedictine monk's day. These texts-read and sung out loud, memorized, and copied into manuscripts-were often illustrated by the very same monks who participated in the choir liturgy. The meaning of these illustrations sometimes only becomes clear when they are read in the context of the texts these monks heard read. The earliest manuscripts of Cîteaux, copied and illuminated at the same time that the new monastery's liturgy was being reformed, demonstrate the transformation of aural experience to visual and textual legacy.

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2

Trinchieri, Camiz Franca, and McIver Katherine A. 1949-, eds. Art and music in the early modern period: Essays in honor of Franca Trinchieri Camiz. Aldershot, Hants, England: Ashgate, 2003.

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3

Boagno, Marina. Franco Corelli: I suoi personaggi. Parma: Azzali, 2002.

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4

Boagno, Marina. Franco Corelli: Un uomo, una voce. [Italy]: Azzali, 1990.

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5

Nony, Anaïs. Performative Images. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722827.

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Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics.

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6

William, Brooks, and Yarrow Philip John, eds. The dramatic criticism of Elizabeth Charlotte, Duchesse D'Orleans: With an annotated chronology of performances of the popular and court theatres in France 1671-1722, reconstructed from her letters. Lewiston: E. Mellen Press, 1996.

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7

Carnal art: Orlan's refacing. Minneapolis: University of Minnesota Press, 2005.

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8

Carnal Art: Orlan's Refacing. University of Minnesota Press, 2005.

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9

Moran, Claire. Art of Theatre: Word, Image and Performance in France and Belgium, C. 1830-1910. Lang AG International Academic Publishers, Peter, 2013.

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10

Moran, Claire. Art of Theatre: Word, Image and Performance in France and Belgium, C. 1830-1910. Lang AG International Academic Publishers, Peter, 2013.

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11

(Editor), Victoria Best, and Peter Collier (Editor), eds. Powerful Bodies: Performance in French Cultural Studies. Peter Lang Publishing, 1999.

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12

France and the Visual Arts since 1945: Remapping European Postwar and Contemporary Art. Bloomsbury Visual Arts, 2018.

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13

Orlan: A hybrid body of artworks. New York: Routledge, 2010.

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14

Grand-Guignol: The French Theatre of Horror (Exeter Performance Studies). University of Exeter Press, 2002.

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15

Sheriff, Mary D. Moved By Love: Inspired Artists and Deviant Women in Eighteenth-Century France. University Of Chicago Press, 2006.

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16

Sheriff, Mary D. Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France. University Of Chicago Press, 2004.

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17

Sheriff, Mary D. Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France. University of Chicago Press, 2013.

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18

Sheriff, Mary D. Moved by Love: Inspired Artists and Deviant Women in Eighteenth-century France. University of Chicago Press, 2008.

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19

Carlson, Marla. Performing Bodies in Pain. Palgrave Macmillan, 2010.

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20

(Editor), Franca Trinchieri Camiz, and Katherine A. McIver (Editor), eds. Art and Music in the Early Modern Period: Essays in Honor of Franca Trinchieri Camiz. Ashgate Publishing, 2003.

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21

Actio and persuasion: Dramatic performance in eighteenth-century France. Oxford [Oxfordshire]: Clarendon Press, 1986.

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22

Lavery, Carl, and Clare Finburgh. Contemporary French Theatre and Performance. Palgrave Macmillan, 2011.

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23

Duckett, Victoria. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0008.

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This book has explored Sarah Bernhardt's films in an attempt to recuperate a cinema that has been lost to us, not materially but perceptually. Through an analysis of Bernhardt's films, it has enlarged not only what we know of her biography, her performance on the live stage, and her engagement with film but also our understanding of what we can achieve through the practice of film history today. It has shown that, until World War I changed the political imperative of filmmaking in France, an actress of Bernhardt's stature had no qualms in adapting her performances to film, in presuming that she could creatively engage with the cinema, and in attending screenings in cinema theaters themselves. The book has also argued that Bernhardt's films demonstrate the cinema's capacity to engage with art nouveau, to collaborate and re-present art nouveau performance and mise-en-scène to new audiences, publics, and cultures. In conclusion, the book suggests that Bernhardt is a visible reminder that excess in acting was an available, potent, and performative choice in the silent film.

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24

Solheim, Jennifer. The Performance of Listening in Postcolonial Francophone Culture. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940827.001.0001.

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The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.

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25

Scheie, Timothy. Performance Degree Zero: Roland Barthes and Theatre. University of Toronto Press, 2006.

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26

Scheie, Timothy. Performance Degree Zero: Roland Barthes and Theatre. University of Toronto Press, 2016.

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27

Bassi, Shaul. The Tragedies in Italy. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.42.

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This chapter describes the cultural translation of Shakespearean tragedy in Italy as a long and difficult process that took place alongside the equally protracted establishment of the country as a unified state in the nineteenth century. Shakespeare came to Italy initially mediated by translations and critical interpretations made in France and Germany; and to begin with literary debates about his work took precedence over theatrical performances. Reworking Shakespeare for Italian culture meant retranslating Italian plots and materials, as a number of the plays have Italian settings. It also meant dealing with tragedy as a genre (tragedy) that, since Dante’s DivineComedy, had been at best secondary. As well as reviewing the plays’ own performance history, various kinds of adaptation (including opera, music and painting) and the leading role played by actors in promulgating Shakespeare (such as Tommaso Salvini, Eleonora Duse, and Carmelo Bene) are analysed.

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28

Everett, Samuel Sami, and Rebekah Vince, eds. Jewish-Muslim Interactions. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621334.001.0001.

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By exploring dynamic Jewish–Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, this book offers an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. The book interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches analysed are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish–Muslim interactions across the Mediterranean.

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29

Perspectives on the Performance of French Piano Music. Taylor & Francis Group, 2016.

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30

Perspectives On The Performance Of French Piano Music. Ashgate Publishing Group, 2014.

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31

McCarrey, Scott, and Lesley A. Wright. Perspectives on the Performance of French Piano Music. Taylor & Francis Group, 2016.

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32

Perspectives on the Performance of French Piano Music. Taylor & Francis Group, 2016.

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33

Golder, Sona N., Ignacio Lago, André Blais, Elisabeth Gidengil, and Thomas Gschwend. Accountability across Elections. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791539.003.0007.

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How do voters use elections as mechanisms of accountability in the multi-level systems in France, Germany, and Spain? The extent to which the voters attribute blame or credit for economic outcomes to the government at any one level depends on whether the voter believes that the government at that level plays an important role in shaping the economy. Also examined are voter opinions about corruption in government across all three levels. This is an issue that should affect voter satisfaction with, and trust in, their democratic institutions. In spite of the difficulties faced by voters in attributing responsibility, they do manage to vote in ways consistent with their evaluations of government performance at different levels.

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34

Popenhagen, Ron J. Modernist Disguise. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.001.0001.

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This book chronicles and theorises face and body masking in arts and culture from the mid-nineteenth century to the new millennium. While featuring the modernist era in France, analyses include commentary on performers and visual artists from the margins of the European continent: Ireland and the Baltics; Denmark and the Mediterranean. Representations of silent Pierrots on stage are contrasted with images of fixed-form maskers and masquerades; two-dimensional depictions in paintings and photographs further the study of the form-altered human figure. The relationship of the European avant-garde with indigenous masquerade from Africa and the Americas is discussed and presented in a series of eighteen photographic counterpoints. Modernist explorations of the masked gaze and the nature of looking with the painted face are considered. Meanings suggested by the disguised body in motion and in stasis are investigated via citations of the work of a wide range of masqueraders: Akarova, Bernhardt, Cahun, Höch, Fuller, Mnouchkine, Stein and Wigman, as well as Artaud, Barrault, Cocteau, Copeau, Deburau, Fo, Milhaud and Picasso. Connections between modernist disguising with manifestations of masquerade in daily life, fashion, fine art, media, opera and theatre are proposed while arguing that masking and the carnivalesque are omnipresent in contemporary culture. Modernist Disguise provides greater understanding of the impact of facial masking upon everyday interactions and perceptions experienced, for instance, during the ongoing COVID-19 pandemic. The book proposes an interdisciplinary and international lexicon for critical conversation on masking objects, mask play and masquerade as performance.

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35

Fontana, Biancamaria. Politics as Propaganda. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691169040.003.0004.

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This chapter illustrates how Staël's analysis of the Jacobins' performance raises the question of the role she attributed, in the revolutionary process, to what she referred to as “the people” or “the nation.” On her account, if the mass of the people harbored the expectations that agitated French society, these shapeless aspirations acquired political significance only through the initiative of some active minority groups. The Revolution itself appeared to be the work of rival elites who pursued different political designs, each of them claiming to act according to the wishes of the whole nation. For Staël this interaction between the French people and its ruling elites was at best problematic. Because the country lacked a tradition of free government, in France the normal relations between a free nation and its elected representatives had not yet taken shape.

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36

Peter, Sester. Business and Investment in Brazil. Oxford University Press, 2022. http://dx.doi.org/10.1093/law/9780192848123.001.0001.

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This book provides a thorough analysis of Brazilian business law for investors and their legal advisers, focusing on topics relevant to business transactions and disputes that can arise in the aftermath of the signing or performance of deals. The essence of investment and negotiation processes is risk evaluation and allocation. Examining Brazilian law, the book focuses on the legal risks, which are higher in Brazilian law than elsewhere, particularly in comparison with contract, partnership, and company (LLC) laws governing international business transactions in the US and UK. However, whilst Brazilian contract law remains a risk factor as a result of its over-ambitious and consequently interventionist approach, Brazilian law in the areas of stock corporation, capital market, antitrust, and public procurement are state-of-the-art when compared to the US and leading European laws in Germany, Switzerland, and France. The book is divided into eight chapters: the introduction provides an overview of the economic and legal framework for doing business in Brazil, focusing on features of the Brazilian legal and economic order that are unusual to international practitioners from a comparative perspective. The other seven chapters analyze those fields of substantive law that impact most investments and cross-border transactions in Brazil. The book focuses on the interpretation of statutory law by the Brazilian Superior Court of Justice and regulatory agencies, and also provides insights into the economic and business rationale of some of the legal solutions offered.

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37

Yarrow, Philip John, and William S. Brooks. The Dramatic Criticism of Elizabeth Charlotte, Duchesse D'Orleans: With an Annotated Chronology of Performances of the Popular and Court Theatres in France ... Her Letters (Studies in French Civilization). Edwin Mellen Press, 1996.

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38

Henke, Robert. Poor. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.24.

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This chapter examines how the experience of poverty followed players wherever they travelled, furnishing the European theatre with some of its most popular tropes while at the same time persisting as a raw, brute reality throughout all of its formal translations and displacements. The chapter sets the drama of England, France, Italy, and Spain against the backdrop of the new modes of capitalist accumulation that were beginning to transform European society, including the commercial theatre itself, in order to demonstrate the omnipresence of poverty as theatrical energy in early modern theatre in the form of hunger, physical degradation, begging, charity, and economically induced crime. It shows how poverty functioned as a fertile source for actor’s gags and authors’ conceits and considers the different ways in which the themes and energies of poverty are staged in plays and performance, namely: marginalization, fictionalization, carnivalization, criminalization, repression, and vestigial presence.

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39

Brown, Noel, ed. The Oxford Handbook of Children's Film. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190939359.001.0001.

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The Oxford Handbook of Children’s Film is the most comprehensive study of international children’s cinema published to date. Overturning common prejudices that films for children are unworthy of serious attention, it presents nuanced and wide-ranging discussions of iconic and neglected productions alike, from Hollywood, Britain, France, Germany, Sweden, Norway, Hungary, Australia, China, Japan, South Korea, India, Iran, Kenya, and several other countries. Featuring contributions by leading scholars in the field, the volume considers a range of issues central to the study of children’s film, including questions of form and definition; representations of childhood and growing up; music, stardom, and performance; how children’s films reflect national identity or serve as vehicles of state ideology and propaganda; the phenomenon of Hollywood “family entertainment,” especially the role of the Disney company; and how children and young people (as well as older audiences) engage with children’s film culture. As a whole, the handbook makes a substantial contribution to the emerging field of children’s film studies and will be of interest to scholars of children’s media and culture more broadly.

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40

Bergeron, David M. The Duke of Lennox, 1574-1624. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781399500449.001.0001.

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This is the first biography of Ludovic Stuart, Duke of Lennox, who served King James VI of Scotland/ I of England from his arrival in 1583 in Scotland until his untimely death in February 1624. Lennox arrived as a 9-year-old boy from France, a cousin of the king. For the next 40 years Lennox served James faithfully and skillfully, becoming the quintessential courtier, James’s confidant, adviser, and friend. Shrewd politician, ambitious and sometimes ruthless, but also beloved by the royal family, Lennox carefully negotiated political and diplomatic minefields. He also participated in the arts as patron and performer, sponsoring his own acting company, attending drama performances and dancing in several court masques. This book explores his private life as well, his three marriages, his relationships with his siblings, his illegitimate son, and life with the royal family. This biography covers the politics and cultural life of the Jacobean court in Scotland and England and Lennox’s unparalleled importance, without whom our knowledge of King James is incomplete.

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41

Starone, Gilberto, and Marina Boagno. Corelli a Man a Voice: A Man, a Voice (Great Voices). 2nd ed. Baskerville Publishers, 2006.

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42

Gosse, Johanna, and Timothy Stott, eds. Nervous Systems. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022053.

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The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. Contributors. Cristina Albu, Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris, Christine Filippone, Johanna Gosse, Francis Halsall, Judith Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson

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43

Prokop, Rainer, and Rosa Reitsamer, eds. Higher Music Education and Employability in a Neoliberal World. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350266995.

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In recent years, a growing body of research has been reassessing the role of higher music education institutions in light of the challenges posed by the dominant neoliberal economic system and the growing sensitivity to the reproduction of social inequalities in access to higher education and the labour market. This open access book offers international and interdisciplinary insights into these processes and practices and by examining the learning cultures, curricula designs and emancipatory initiatives within higher music education institutions. Drawing together empirical case studies from Austria, France, Germany, Italy, the Netherlands, Portugal, Switzerland, the UK and the USA, the authors explore the multifaceted ways to transition from study to work and the world of uncertainty and job insecurity currently experienced by a younger generation of musicians. Contributions shed light on the reactions of higher music education institutions to the neoliberal restructuring of the educational field and take a fresh look at the master-apprentice model of teaching and learning. They look at the discourses surrounding employability and artistic standards that form the traditional foundation of conservatoire education but also create the environment for unequal power relations and sexual misconduct. The authors also examine how gender, class and race/ethnicity pervade the creation and performance of music, and highlight alternative pedagogical strategies that fight discrimination and violence to bring about equity and empowerment. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University of Music and Performing Arts Vienna.

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44

Milliman, Paul, ed. A Cultural History of Leisure In the Medieval Age. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350057258.

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During the Middle Ages (500-1450), active leisure was considered a productive activity, distinct from work and devotional pursuits. Running, fencing, playing ball, swimming, dancing, hunting or singing all could help to keep one’s humours in balance and therefore maintain one’s mental and physical health. Idle leisure, however, was supposed to be avoided because it could lead to the deadly sin of sloth, corrupting both mind and body. At least this was the theory. To what extent were medieval people weighing the risks and rewards of the leisure activities they engaged in, and to what extent were they simply interested in having fun while enjoying performances, feasting or window shopping? What do medieval texts and images tell us about the kinds of leisure activities that enriched the lives of various social groups? Do the popular dreamworlds of the Land of Cockaigne – endless leisure with no time allotted for devotion or work – indicate where the true medieval priorities lay? A Cultural History of Leisure in the Middle Ages, paying particular attention to England and France, presents an overview of key themes and trends in this period, with essays on: Ideas of leisure; The performing arts and their audiences; The cerebral arts and their publics; Sports and games; Holydays, holidays and tourism; The world of conviviality; The world of goods; The world of nature; Representations of leisure.

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45

Rodríguez, Richard T. A Kiss across the Ocean. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023180.

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In A Kiss across the Ocean Richard T. Rodríguez examines the relationship between British post-punk musicians and their Latinx audiences in the United States since the 1980s. Melding memoir with cultural criticism, Rodríguez spotlights a host of influential bands and performers including Siouxsie and the Banshees, Adam Ant, Bauhaus, Soft Cell, Frankie Goes to Hollywood, and Pet Shop Boys. He recounts these bands’ importance for him and other Latinx kids and discusses their frequent identification with these bands’ glamorous performance of difference. Whether it was Siouxsie Sioux drawing inspiration from Latinx contemporaries and cultural practices or how Soft Cell singer Marc Almond’s lyrics were attuned to the vibrancy of queer Latinidad, Rodríguez shows how Latinx culture helped shape British post-punk. He traces the fandom networks that link these groups across space and time to illuminate how popular music establishes and facilitates intimate relations across the Atlantic. In so doing, he demonstrates how the music and styles that have come to define the 1980s hold significant sway over younger generations equally enthused by their matchlessly pleasurable and political reverberations.

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46

Carlson, Marvin A. Voltaire and the Theatre of the Eighteenth Century. Greenwood Publishing Group, Inc., 1998. http://dx.doi.org/10.5040/9798216033073.

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Born in the final years of the seventeenth century, and dying a decade before the beginning of the French Revolution, Voltaire was a quintessential figure of the eighteenth century, so much so that this era is sometimes called the Age of Voltaire. At a time when French culture dominated Europe, Voltaire dominated French culture. His influence was broad and powerful, and he made major contributions to almost every sphere of intellectual activity, including the sciences, trade and commerce, politics, and especially the arts. Despite the astonishing range of his literary activities, the theatre occupied a central position in his life from the beginning of his career to its close. His first and last literary triumphs were plays, the first written when he was only 17, the last completed when he was 84. He created a total of 56, and there was rarely a time in his life when he was not working on a theatrical script. At the end of his career, his works were produced more frequently on the French stage than those of any other serious dramatist and served as models for aspiring young playwrights throughout Europe. Written by a leading authority on French theatre and culture in the eighteenth century, this book traces the theatrical career of Voltaire from his college days through his final works. The most influential dramatist of the period, he successfully wrote in a number of genres, including tragedy, comedy, opera, comic opera, and court spectacle. His theatrical biography involves all aspects of acting and staging in amateur and society theatre as well as on major professional stages and performances at court. His extended visits to England and Germany are covered in chapters that also provide an introduction to the theatre in those countries, and his international interests and correspondence provide insights into the eighteenth century theatre in places such as Italy, Russia, and Denmark. Due to his literally life-long concern with the theatre, his dominance in this art, and his reputation and involvement with the theatre outside France, Voltaire's theatrical biography is also in large measure a chronicle of the European stage of the eighteenth century.

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47

Bâtcă-Dumitru, Graziella Corina, Adriana Florina Popa, Daniela Nicoleta Sahlian, Mihai Vuță, and Cleopatra Sendroiu. Contabilitate. Instrument de business pentru manageri. Editura Universitara, 2021. http://dx.doi.org/10.5682/9786062812577.

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Esti un antreprenor/manager aflat in cautarea de noi informatii privind intelegerea anumitor aspecte referitoare la situatia actuala, dinamica si perspectivele afacerii tale? Esti un contabil interesat de extinderea portofoliului de servicii din sfera contabilitatii prin interconectarea acestora cu informatii ce vizeaza analiza economico-financiara, procesul de luare a deciziilor si managementul riscurilor? Esti un student aflat in cautarea de informatii utile crearii unei imagini de ansamblu asupra contabilitatii si domeniilor conexe acesteia in vederea crearii unei viziuni holistice asupra unei afaceri? Daca esti in una din ipostazele de mai sus sau pur si simplu doresti sa afli mai mult despre modul de obtinere si utilizarea practica a unor informatii contabile, lucrarea Contabilitatea - instrument de business pentru manageri reprezinta un instrument util pentru indeplinirea obiectivelor vizate. In principal, cartea abordeaza aspecte specifice contabilitatii din Romania, plasate insa intr-un context international. In acest sens, obtinerea si utilizarea de informatii necesare deciziilor manageriale reprezinta, spre exemplu, un “limbaj international”. In plus, analiza performantei unei afaceri este prezentata in mod dual, atat din perspectiva continentala (franceza) cat si din cea anglo-saxona. Nu in ultimul rand, cititorul are ocazia de a-si asuma “riscul” de a incerca sa inteleaga rolul instrumentelor financiare, atat din perspectiva financiara cat si contabila, pentru a putea utiliza, ulterior, informatiile respective in procesul de gestionare a riscurilor existente in cadrul unei afaceri.

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